Podcasts about Paul Virilio

This week we're discussing the 2024 incident in which a malformed update of CrowdStrike Falcon caused 8.5 million computers running Microsoft Windows to crash. Links- Read our in-depth article about what happened and what it tells us about the security and robustness of the modern internet- Find more about the 911 outages across several US states- CrowdStrike's own review of the problem- Our podcast on the XZ exploit- Facebook VPN exploitation- The philosopher Caitlin was thinking of was Paul Virilio

Few people have done more to define the contemporary media theory landscape than Alex Quicho @amfq, an indefinable thinker and artist and intellectual force who brought Girl Theory to the front and center of The Discourse. One note, friend of the pod Morgane Billuart has also just released an interview with Alex on her excellent podcast Becoming the Product. We don't believe there's such a thing as too much AMFQ. Morgane is an upcoming guest for us too, so it's a nice trifecta!In terms of Quicho-core:Everyone is a Girl Online (September 2023) -- if you haven't read it, HARD RECCO.The Aura Points lecture (December 2024)Small Gods: Perspective on the Drone (May 2021) GIRLSTACK at BODYSTACKThe amazing girlstack substack -- because everyone is a girl and everyone is online ;)Key references and concepts from the pod include:Helena shouts out Bogna Konior whose work is absolutely at the top of the top atm. We love her lecture ANGELS IN LATENT SPACES omg.When identifying AI with/as a girl, Alex leverages concepts from K Allado-McDowell on model-as-self.Alex references Sayak Valencia's Gore Capitalism and Maggie Nelson's The Art of Cruelty on media representations of violenceWe briefly chat about Maya B. Kronik and Amy Ireland's "cute accelerationism" paradigm and their year-defining book on the topic.Alex grabs some concepts from Paul Virilio and Susan Sontag's foundational work on photography, violence and war, Edward Glissant's work on opacity and resistance, Benedict Singleton's traps and levers, Helen Hester and the Laboria Cuboniks collective's xenofeminism, Tiqqun's young girl, and (IYKYK) Luciana Parisi's absolutely singular "Abstract Sex" (the book that brough Roberto and Marek 2gether).Marek shouts out master of blur Dana Dawud's Monad series.Helena references artist Zein Majali's work "Propane" and Jennie Livingston's generation-defining "Paris is Burning."

À l'occasion de la 8e édition du festival Un Week-End à l'Est, qui met cette année à l'honneur la scène artistique d'Erevan en Arménie, un dialogue inédit entre l'artiste visuel Melik Ohanian et le cinéaste Andrei Ujica met en lumière une figure majeure du 7e art, le cinéaste Artavazd Pelechian. Aussi rare que célébré, il est le « chainon manquant de la véritable histoire du cinéma », selon l'expression de Serge Daney qui fut, avec Jean-Luc Godard, l'un des plus ardents promoteurs de son œuvre en France au début des années 1990. Conversation modérée par la curatrice d'art contemporain Lilit Sokhakian. Melik Ohanian, artiste visuel français d'origine arménienne, adopte une approche multidisciplinaire et politiquement engagée dans sa pratique artistique. À travers la sculpture, la photographie, le cinéma et l'installation, son œuvre conceptuelle et poétique explore les notions de déplacement en tant que phénomènes politiques, sociaux et culturels, ainsi que les concepts de temps et de la nature de la mémoire individuelle et collective. Son travail a été présenté lors de nombreuses expositions personnelles en France et à l'étranger. Il a participé à de nombreuses expositions collectives notamment aux biennales de São Paulo (2004), Berlin (2004), Sydney (2004, 2016), Moscou (2005), Gwangju (2006), Séville (2006), Venise (2007, 2015), Sharjah (2011) et à la Biennale de Lyon (2005, 2017). En 2015, il est lauréat du Prix Marcel Duchamp, et participe au Pavillon de l'Arménie à la Biennale de Venise, qui est récompensé par le Lion d'Or du meilleur pavillon national. Son installation permanente dans le Parc Trembley à Genève, Les Réverbères de la Mémoire reçoit le Prix Visarte à Zurich en 2019. Après des études de littérature, Andrei Ujica décide en 1990 de se consacrer au cinéma et co-réalise avec Harun Farocki Vidéogrammes d'une Révolution (1992). Ce film, qui évoque la relation entre le pouvoir politique et les médias en Europe à la fin de la Guerre Froide, fait date. Son second film Out of the Present (1995) évoque l'histoire du cosmonaute Sergei Krikalev qui passa dix mois dans la station Mir, tandis que sur terre l'Union Soviétique cessait d'exister. L'Autobiographie de Nicolae Ceaușescu (2010) conclut sa trilogie dédiée à la fin du communisme. Avec TWST | Things We Said Today (2024) Ujica se tourne vers l'émergence de la culture de masse. Andrei Ujica a également réalisé deux films commandités par la Fondation Cartier pour l'art contemporain : 2 Pasolini (2000/2020) et Unknown Quantity avec Paul Virilio et Svetlana Alexievitch (2002-2005). Lilit Sokhakyan, curatrice d'art contemporain, s'est installée à Paris en 2012, où elle a commencé à collaborer avec la Fondation Cartier pour l'art contemporain sur diverses expositions et projets, notamment liés à l'artiste Artavazd Pelechian. Avec l'équipe de la Fondation Cartier, Lilit a assisté Pelechian dans la création de son dernier film La Nature, elle a assuré la création du site internet entièrement dédié à la vie et à la filmographie de Pelechian, ainsi que la distribution de ses œuvres dans plusieurs festivals internationaux, notamment à New York, Amsterdam, Milan et Venise. Elle continue d'accompagner Artavazd Pelechian dans ses projets européens et ses expositions, ainsi que dans le développement de son nouveau projet d'opéra. Amphithéâtre des Loges Jeudi 21 novembre 2024 Crédits photos : © mtetard © Hrair Hawk Khatcherian

On this episode, I am joined by a leading Jacques Ellul scholar, Dr. Michael Morreli, as we unpack his reflections on technology, idolatry, modernity, and Christian Anarchism. If you enjoy the conversation, check out his book  Theology, Ethics, and Technology in the Work of Jacques Ellul and Paul Virilio. Michael Morelli is Assistant Professor of… Read more about Michael Morelli: Jacques Ellul & the Technological Society

On this episode, I am joined by a leading Jacques Ellul scholar, Dr. Michael Morreli, as we unpack his reflections on technology, idolatry, modernity, and Christian Anarchism. If you enjoy the conversation, check out his book  Theology, Ethics, and Technology in the Work of Jacques Ellul and Paul Virilio. Michael Morelli is Assistant Professor of Theology & Ethics and Program Manager, Life-Long Learning at Northwest Seminary & College (a founding member of ACTS Seminaries, and affiliate of Trinity Western University). He holds a PhD in Theological Ethics from the University of Aberdeen, Scotland, is the author of Theology, Ethics, and Technology in the Work of Jacques Ellul and Paul Virilio: A Nascent Theological Tradition (2021), and editor of Desert, Wilderness, Wasteland, and Word: A New Essay by Jacques Ellul and Five Critical Engagements (2023). He publishes and presents on a variety of topics within the fields of theology, morality, culture, politics, and technology. He has also worked in local church ministry and continues to serve the church in a lay capacity. Follow Michael's work on Twitter: @mchlmorelli 00:00 Introduction to the Podcast and Dr. Morelli 04:31 Michael Morelli's Academic Journey 14:03 Jacques Ellul's Background and Influences 19:25 Understanding Technique and Its Implications 32:28 The Idol of Technology and Its Consequences 37:09 Power Dynamics and Non-Power in Modernity 46:54 The Dark Side of Innovation 47:12 War and Technology: A Chilling Connection 48:04 Propaganda and Political Power 51:29 The Seduction of Technology 54:39 The Role of Idols in Modern Society 57:42 The Ethics of War and Political Decisions 01:00:38 The Future of Technology and Society 01:14:16 Christian Anarchism and Local Governance 01:22:47 Hope and Despair in Modern Times 01:36:26 Upcoming Projects and Final Thoughts WATCH THE CONVERSATION HERE Join my Substack - Process This! Join our upcoming class - THE GOD OF THE BIBLE: An Absolutely Clear and Final Guide to Ultimate Mystery ;) Come to THEOLOGY BEER CAMP. Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diese Woche habe ich eine sehr nette Rückmeldung zu meinen Wochenkommentaren erhalten: Die Person schrieb mir, es sei für sie jeweils der journalistische Höhepunkt der Woche. Herzlichen Dank dafür. Aber dann kam eine Bemerkung, die mich ins Grübeln brachte. Die Person schrieb, dass der Text manchmal etwas atemlos klinge, als wäre er ohne Punkt und Komma geschrieben und gelesen. Das Wort «atemlos» blieb mir hängen. Atemlos. Ich habe tatsächlich Angst, zu langsam zu schreiben, zu langsam zu sprechen, zu langsam zu sein, zu wenig zu tun, zu wenig effizient zu sein. Die Folge ist  Atemlosigkeit. Goethe warnte vor dem Veloziferischen, jener Beschleunigung, die ebenso teuflisch wie verführerisch ist. Sie führt zu dem, was Paul Virilio den «rasenden Stillstand» nennt. Ich glaube, wir stecken mittendrin: in einer auf Effizienz und Geschwindigkeit getrimmten Welt im rasenden Stillstand. Mein Wochenkommentar zu unserer Atemlosigkeit – meiner eigenen und die der Gesellschaft um mich herum.Matthias Zehnder ist Autor und Medienwissenschaftler in Basel. Er ist bekannt für inspirierende Texte, Vorträge und Seminare über Medien, die Digitalisierung und KI.Website: https://www.matthiaszehnder.ch/Newsletter abonnieren: https://www.matthiaszehnder.ch/abo/Unterstützen: https://www.matthiaszehnder.ch/unterstuetzen/Biografie und Publikationen: https://www.matthiaszehnder.ch/about/

Owain Leyshon⁠ (Raymond K Hessel) is a philosopher and writer based in Ireland. He focuses primarily on the phenomenology of technology and political philosophy, with a special interest in the ancient Greeks. Owain blogs regularly on Substack and a number of his essays have been published in the collection called Notes from the Pod. ⁠Joshua Hansen⁠ is a US-based cultural theorist focused on hypermodernity and the rise of digital religion. His work aims to demystify contemporary technoculture and operates at the intersection of Academia, Science & the Internet. Hansen published his first book, Tractatus Anti-Academicus, in 2023. It's been a while in coming but it was great to finally discuss French philosopher Paul Virilio's Pure War with Joshua and Owain. I'd been introduced to Virilio by their excellent recent course on his work in general. Virilio is perhaps best known as a theorist of speed and the speeding up of society through the appearance of ever faster technology, and of the inevitability of the accident bound up in the arrival of this new technology. His most famous quote is probably "when you invent the plane, you also invent the plane crash". Indeed, Virilio singles out military technology in particular as a leading vector in the acceleration of society. Or, to paraphrase Virilio, society accelerates at the speed of warfare, and this was the theoretical meeting point where I wanted to converge with Owain and Joshua for our discussion. The main theme emerging from our discussion in this episode was the position of nuclear weapons in Virilio's theorising. For Virilio, the ever increasing speed of military technology means that the four minute warning is all that's left of human agency. With the arrival of laser weapons - weapons that literally operate at the speed of light - and autonomous drones, the time frame for human decision making will will shrink to nothing and Pure War will finally be achieved: war which can carry on indefinitely without any human input. Pure War is also prefigured in nuclear Mutually Assured Destruction (MAD), since a war that never begins never ends. We also discussed whether nuclear weapons have prevented world war III since their inception, moving to critique the so-called Realist school of MAD from a Virilian perspective, in that it just isn't realistic enough to believe that the continued existence of nuclear weapons over the longue durée won't at some point entail accidental nuclear war. Episode Questions: 1. Pure war = Infinite preparation for war. “The invention of the airplane was the invention of the air crash”. Q. Does the invention of nuclear weapons entail the inevitability of nuclear war in Virilio's schema?  2. Endo-colonisation: an a-national military class opposed to its own civilian population colonises its own territory, leading to the non-development of civilian economies. Q. How are the militaries of the great powers a greater threat to their own populations than their supposed enemies 3. Nuclear Monarchy: nuclear weapons gives us a new humanism founded on destruction. The weapon present by "divine right" at the heart of our society. Yet the military man is not an intersessionist priest, he is an executioner because he does not care about death, only killing. Can Virilio's thought be used to counter nuclear annihilation? 4. Holy War: Nuclear war is Just War with technological characteristics, encouraging the complete release of apocalypse level violence. As Christians, can Virilio's fear that belief in an afterlife encourages war and Girard's notion that war arises from a mimetic spiral of violence due to lack of a belief in the Christ scapegoat, be reconciled? --- Send in a voice message: https://podcasters.spotify.com/pod/show/hypervelocity/message

« La fin du monde est un concept sans avenir ». Paul Virilio, grand architecte et philosophe disparu en 2018, est à l'origine de la dromologie, soit l'étude du rôle joué par la vitesse dans les sociétés modernes. À l'occasion de la parution de 22 de ses essais (éd. du Seuil), sa fille Sophie Virilio, l'architecte Jean Richer, l'éditrice Maria Vlachou et l'historien de l'art Christian Joschke dialoguent autour de la pensée accélérationniste. L'ouvrage La fin du monde est un concept sans avenir permet de parcourir quatre décennies (1976-2010) et décrit un arc théorique partant du regard d'un enfant marqué par le bombardement de Nantes en 1943 pour aller jusqu'à celui du philosophe qui définira l'esthétique de la disparition. Le monde dans le viseur est en perpétuelle accélération, surpris par l'accident, habité par la guerre, frappé par les bombes climatique et informatique, incarcéré dans le communisme des affects, obsédé par la conquête du temps réel et l'effacement de la distance. Urbaniste et philosophe (1932-2018), Paul Virilio déclare que ses deux universités ont été la guerre et l'art. Tout d'abord peintre puis maître verrier, il suit en auditeur libre les cours de Vladimir Jankélévitch, de Louis de Broglie et de Maurice Merleau-Ponty. Il consacre dix ans au projet Bunker Archéologie, qui fera l'objet d'une exposition sous l'égide du CCI Beaubourg en 1975. En 1963, il fonde le groupe Architecture Principe et la revue éponyme. En 1968, il devient professeur à l'École spéciale d'architecture de Paris et y enseigne pendant vingt-neuf ans. En 1972, il crée avec le sociologue Jean Duvignaud la revue Cause Commune et collabore entre autres aux revues Esprit, Traverses et L'Autre Journal. Il publie son premier essai, L'Insécurité du territoire, en 1976. En 1990, il devient directeur de programme au Collège international de philosophie sous la direction de Jacques Derrida. Sa collaboration avec la Fondation Cartier, initiée par l'exposition La Vitesse (1991), se poursuit jusqu'à la fin de sa vie, avec Ce qui arrive (2003), Terre Natale, Ailleurs commence ici (2008-2009). Paul Virilio est traduit dans 35 pays. Sophie Virilio, romancière et photographe sous pseudonymes, est la fille et unique ayant-droit de Paul Virilio. Elle œuvre à la diffusion de la pensée de son père à travers la revue annuelle Dromologie et des rencontres, expositions et évènements auxquels elle collabore et apporte le soutien de son fonds privé. Jean Richer est architecte-géographe. Il milite pour la prise en compte du temps dans les processus de transformation des villes. Actif dans le soin apporté au déjà-là du patrimoine et dans la recherche urbaine, il entend faire de l'écologie grise une pratique transformatrice pour aborder les grands changements du monde. Maria Vlachou est éditrice et directrice des droits étrangers aux Éditions du Seuil. Elle a collaboré notamment avec la RMN, l'EHESS et les PUF. Depuis 2021, elle préside la commission extraduction de sciences humaines au CNL. Elle est docteure en archéologie (EPHE) et spécialisée dans la sculpture architecturale de l'époque hellénistique. Christian Joschke est historien de l'art et s'intéresse particulièrement aux rapports entre arts et politique et à l'histoire de la photographie. Il a fondé avec Olivier Lugon la revue Transbordeur. Photographie histoire société aux éditions Macula et dirige avec lui la collection « Transbordeur » chez le même éditeur. Professeur aux Beaux-Arts de Paris, il aborde cette année la pensée accélérationniste avec ses étudiants. Penser le Présent est réalisé avec le soutien de Société Générale. Amphithéâtre des Loges Jeudi 18 janvier 2024 Crédit photo : © Droits réservés couverture : Dunkerque et dessus, Virilio 5-7 juin 1969 © Michel Pamart, photo Fonds S. Virilio

Ráfaga de una cita de Paul Virilio en su libro Lo que viene sobre los cambios de la sociedad durante el siglo XX y sus tendencias para el siglo XXI. De la serie recopilatoria Ráfagas Apocalípticas que salió al aire por Radio UNAM. Comentarios: Ernesto Priani Saisó. Producción: Ignacio Bazán Estrada. Voces: María Sandoval y Juan Stack. Controles Técnicos: Miguel Angel Mendoza.

The digital landscape is rapidly growing, progressing at an unprecedented speed. However, we are still unsure of all our options and their short-term and long-term benefits. Additionally, we are uncertain about how these options impact our behavior, decision-making processes, and overall navigation through life. With so many options available, we often focus on the next immediate choice and lose sight of the bigger picture. This phenomenon was already described as a "racing standstill" by the philosopher Paul Virilio 30 years ago. How can we broaden our perception and understanding without getting overwhelmed by the multitude of opportunities? How can we become more strategic and less tactical? How can we develop perspectives that allow us to navigate our contexts calmly? And does “digital” deserve a didactic? These are the questions that Digital Flux aims to address. In our first episode, we delve into the essence of Digital Flux. Together with my audio producer Lawrence, we explore its meaning and the underlying thinking principles. We also provide a preview of what's to come: discussions on topics ranging from advancements in quantum computers to the effects of personal electronic devices on humanity, as well as sociological phenomena of the digital world like Ghosting and Digital Toxification. Our goal is to facilitate critical conversations that shed light on the digital landscape. This is just the beginning of our journey to uncover the overarching concepts and ideas that shape our interaction with digital life and how digital life, in turn, changes us. Cheers, Dennis Sponsor of todays eposode: https://www.pace-digital.de Podcast: https://digital-flux.podigee.io Some stuff about me: https://denniswachter.com LinkedIn: https://www.linkedin.com/in/dennis-wachter/

"Death to Videodrome! Long live the New Flesh!" It was perhaps inevitable that the modern Weird, driven as it is to swallow all things, would sooner or later veer into the realm of political sloganeering without losing any of its unknowable essence. David Cronenberg's 1983 film Videodrome is more than a masterwork of body horror: it is a study in technopolitics, a meditation on the complex weave of imagination and perception, and a prophecy of the now on-going coalescence of flesh and technology into a strange new alloy. In this episode, recorded live after a screening of the film at Indiana University Cinema (https://cinema.indiana.edu/index.html) in Bloomington, JF and Phil set out to interpret Cronenberg's vision... and come to dig the New Flesh. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies sountrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES David Cronenberg, Videodrome (https://www.imdb.com/title/tt0086541/) Maurice Merleau-Ponty, The Visible and the Invisible (https://bookshop.org/a/18799/9780810104570) Paul Virilio, The Information Bomb (https://bookshop.org/a/18799/9781844670598) Weird Studies, Episode 75 on “2001: A Space Odyssey” (https://www.weirdstudies.com/75) Richard Porton and David Cronenberg, "The Film Director as Philosopher: An Interview with David Cronenberg" (https://www.jstor.org/stable/41690094) George Hickenlooper and David Cronenberg, "The Primal Energies of the Horror Film: An Interview with David Cronenberg" (https://www.jstor.org/stable/41687643) Weird Studies, Episode 144 with Connor Habib (https://www.weirdstudies.com/144) William Friedkin (dir.), The Exorcist (https://www.imdb.com/title/tt0070047/) Plato, Timaeus (https://bookshop.org/a/18799/9780140455045) William Gibson, Idoru (https://bookshop.org/a/18799/9780425158647) CBC, Yorkville: Hippie Haven (https://www.cbc.ca/player/play/1564883669) Linda Williams, “Film Bodies: Gender, Genre, and Excess” (https://www.jstor.org/stable/1212758)

以哈衝突的本質是恐怖行動？是代理人戰爭？或是民族解放運動呢？美國的中東政策受挫、未來展望又是如何？中國會趁機挑起動亂，取代俄國、拖垮美國嗎？中、俄、伊朗聯手的操作會影響美國的印太戰略？或者其實只是大國博弈各懷鬼胎！而從烏俄戰爭到以哈衝突，看到烏克蘭和以色列陸續遭到中國背信忘義，中共算計更勝猶太人，玩弄以阿於股掌之間？毛澤東說過：天下大亂、形勢大好，是誰在唯恐天下不亂？! 精彩訪談內容，請鎖定@華視三國演議！ 本集來賓：#明居正 #矢板明夫 主持人：#汪浩 以上言論不代表本台立場 #哈瑪斯 #以色列 #兩國方案 #加薩 電視播出時間

durée : 00:03:20 - Le Regard culturel - par : Lucile Commeaux - Disparu en 2018, Paul Virilio laissait une œuvre monumentale et multiforme, désormais rassemblée dans "La fin du monde est un concept sans avenir". Et tout comme la "dromologie", cette discipline qu'il a pensée pour étudier la vitesse, le philosophe a mené ses mille et une vies à toute allure. - invités : François Angelier Producteur de l'émission "Mauvais Genres" sur France Culture, spécialiste de littérature populaire

Michael Najjar, Extrem-Foto- und Video-Künstler aus Berlin. Michael Najjar wurde 1966 in Landau geboren und studierte von 1988 bis 1993 an der »bildo Akademie für Medienkunst« in Berlin. In dieser Zeit beschäftigte er sich intensiv mit den visionären Theorien von Medienphilosophen wie Vilém Flusser, Paul Virilio und Jean Baudrillard. In seiner Arbeit hinterfragt Michael Najjar immer wieder die Beziehung zwischen Realität und Simulation. Seine Arbeit wird international ausgestellt und ist in zahlreichen Sammlungen vertreten. Darunter: Akademie der Künste, Berlin; Alfred Ehrhardt Foundation, Berlin; Museum Ludwig, Köln; Kunsthalle Hamburg/Galerie der Gegenwart, Hamburg; Deichtorhallen, Hamburg; Marta Museum, Herford; Edith Russ Haus für Medienkunst, Oldenburg; Kunstmuseum Wolfsburg; Saatchi Gallery, London; uvm. Zitat aus der Episode: »Frei nach Flusser: Eine Fotografie ist ein nulldimensionales Bild, weil es zu jeder Zeit an jedem Ort erscheinen und abgerufen werden kann.« »Zitat von einem meiner Dozenten: Du kannst nur etwas gut gestalten, wenn Du eine eigene Erfahrung damit gemacht hast.« »Bei mir ist der Drang danach Bilder zu generieren oft größer als das Risikobewusstsein.« »Mir war klar mit Tools wie Photoshop wird sich das Medium stark verändern.« »Mich hat immer interessiert, wie verändert das Internet die Megacities?« »Mich hat immer interessiert, wie greifen wir in unsere Physis ein mittels neuer medizinischer Technologien?« »Mich hat immer interessiert, welchen Einfluss haben Algorithmen auf die weltweiten Finanzströme?« »Die Leute müssen wieder was wagen. Sie müssen Risiken auf sich nehmen, um neue Sachen zu entdecken.« »Es gibt eine so genannte Technosphäre, die mittlerweile mehr als die gesamte Biosphäre wiegen soll.« https://www.michaelnajjar.com https://www.instagram.com/studio_michaelnajjar - - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Thomas Rusch https://www.instagram.com/thomasrusch/ In unseren Newsletter eintragen und regelmäßig gut informiert sein über das INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER, den »Deutschen Fotobuchpreis« und den Podcast Fotografien Neu Denken. https://festival-fotografischer-bilder.de/newsletter/ Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2023.

Michael Najjar, Extrem-Foto- und Video-Künstler aus Berlin. Michael Najjar wurde 1966 in Landau geboren und studierte von 1988 bis 1993 an der »bildo Akademie für Medienkunst« in Berlin. In dieser Zeit beschäftigte er sich intensiv mit den visionären Theorien von Medienphilosophen wie Vilém Flusser, Paul Virilio und Jean Baudrillard. In seiner Arbeit hinterfragt Michael Najjar immer wieder die Beziehung zwischen Realität und Simulation. Seine Arbeit wird international ausgestellt und ist in zahlreichen Sammlungen vertreten. Darunter: Akademie der Künste, Berlin; Alfred Ehrhardt Foundation, Berlin; Museum Ludwig, Köln; Kunsthalle Hamburg/Galerie der Gegenwart, Hamburg; Deichtorhallen, Hamburg; Marta Museum, Herford; Edith Russ Haus für Medienkunst, Oldenburg; Kunstmuseum Wolfsburg; Saatchi Gallery, London; uvm. Zitat aus der Episode: »Frei nach Flusser: Eine Fotografie ist ein nulldimensionales Bild, weil es zu jeder Zeit an jedem Ort erscheinen und abgerufen werden kann.« »Zitat von einem meiner Dozenten: Du kannst nur etwas gut gestalten, wenn Du eine eigene Erfahrung damit gemacht hast.« »Bei mir ist der Drang danach Bilder zu generieren oft größer als das Risikobewusstsein.« »Mir war klar mit Tools wie Photoshop wird sich das Medium stark verändern.« »Mich hat immer interessiert, wie verändert das Internet die Megacities?« »Mich hat immer interessiert, wie greifen wir in unsere Physis ein mittels neuer medizinischer Technologien?« »Mich hat immer interessiert, welchen Einfluss haben Algorithmen auf die weltweiten Finanzströme?« »Die Leute müssen wieder was wagen. Sie müssen Risiken auf sich nehmen, um neue Sachen zu entdecken.« »Es gibt eine so genannte Technosphäre, die mittlerweile mehr als die gesamte Biosphäre wiegen soll.« https://www.michaelnajjar.com https://www.instagram.com/studio_michaelnajjar - - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Thomas Rusch https://www.instagram.com/thomasrusch/ In unseren Newsletter eintragen und regelmäßig gut informiert sein über das INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER, den »Deutschen Fotobuchpreis« und den Podcast Fotografien Neu Denken. https://festival-fotografischer-bilder.de/newsletter/ Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2023.

全球關注以巴戰火！也要了解衝突背後、美中在中東地區的博弈！美國從伊拉克和阿富汗撤軍後，致力推動阿拉伯國家與以色列建立正常外交關係，以巴衝突意味美國在中東的和平努力受挫嗎？而中國近年也在中東擴張影響力，透過大力支持伊朗、敘利亞、巴勒斯坦自治政府，間接援助哈馬斯和黎巴嫩真主黨等恐怖組織，同時拉攏其它海灣阿拉伯國家，並與以色列交好，中國真能四面討好、漁翁得利？落實「兩國方案」就能解決以巴衝突嗎？! 精彩訪談內容，請鎖定@華視三國演議！ 本集來賓：#宋國誠 #矢板明夫 主持人：#汪浩 以上言論不代表本台立場 #以巴戰爭 #加薩走廊 #中東危機 #兩國論 電視播出時間

Pierre-Édouard Deldique reçoit dans Idées : Paul Virilio. Urbaniste, philosophe, penseur de l'architecture et de la vitesse, directeur de programme au Collège de philosophie avec Jacques Derrida, Paul Virilio (1932-2018) est le père du concept de Dromologie. Les éditions du Seuil publient ses essais. Avec Thierry Paquot, philosophe, spécialiste de la question urbaine. Il est l'auteur d'une soixantaine de livres sur les villes, l'écologie, l'utopie.

Pierre-Édouard Deldique reçoit dans Idées : Paul Virilio. Urbaniste, philosophe, penseur de l'architecture et de la vitesse, directeur de programme au Collège de philosophie avec Jacques Derrida, Paul Virilio (1932-2018) est le père du concept de Dromologie. Les éditions du Seuil publient ses essais. Avec Thierry Paquot, philosophe, spécialiste de la question urbaine. Il est l'auteur d'une soixantaine de livres sur les villes, l'écologie, l'utopie.

This week Taylor and Cooper have a look at Paul Virilio's War and Cinema: The Logistics of Perception. We spend some time discussing the pseudo-concept of cinematic ontology, the co-development of both film and war machinery, and much more. Support us on Patreon: https://www.patreon.com/muhh Twitter: @unconscioushh

Paul Farber:You are listening to Monument Lab Future Memory where we discuss the future of monuments and the state of public memory in the US and across the globe. You can support the work of Monument Lab by visiting monumentlab.com, following us on social @Monument_Lab, or subscribing to this podcast anywhere you listen to podcasts. Li Sumpter:Our guest today on Future Memory is artist, scholar, and composer, Nathan Young. Young is a member of the Delaware Tribe of Indians and a direct descendant of the Pawnee Nation and Kiowa Tribe, currently living in Tahlequah, Oklahoma. His work incorporates sound, video, documentary, animation, installation, socially-engaged art, and experimental and improvised music. Young is also a founding member of the artist collective, Postcommodity. He holds an MFA in Music/Sound from Bard College's Milton Avery School of the Arts and is currently pursuing a PhD in the University of Oklahoma's innovative Native American art history doctoral program. His scholarship focuses on Indigenous Sonic Agency. Today we discuss his art and practice and a recently opened public art project at Historic site Pennsbury Manor entitled nkwiluntàmën, funded by the Pew Center for Arts & Heritage and curated by Ryan Strand Greenberg and Theo Loftis. Let's listen.Welcome to another episode of Future Memory. I'm your co-host, Li Sumpter. Today my guest is Nathan Young. Welcome, Nathan.Nathan Young:Hello. Thank you. It's nice to be here with you today. Li:Future Memory is the name of Monument Lab's podcast. In the context of your own work, when you hear the words "future memory," what does that mean to you? Do any images or sounds come to mind? Nathan:They really do. There's one. It was a website of a sound artist, a writer, an educator, Jace Clayton, DJ/Rupture, had a mixed CD called "Gold Teeth Thief". I remember it was kind of a game changer in the late '90s. I got that mixed CD from a website called History of the Future. Li:That's very close. It was very close.Nathan:It's always stuck with me. I'm fortunate enough to be able to grapple with a lot of these kind of ideas. I'm not really quite sure how I feel about some of the history of the future because in some ways I work within many different archives so I am dealing with people's future or thinking about or reimagining or just imagining their future.But future monuments are something that I grapple with and deeply consider in my artwork. I think it's one of the more challenging subjects today in art. I think we see that with the taking down of monuments that were so controversial or are so controversial. But I find it fascinating the idea of finding new forms to make monuments to remember and the idea of working with different communities of memory. It's key to my work. It's just a lot of listening and a lot of pondering. Actually, it's a very productive space for me because it's a place to think about form. Also, it opens doors for me just to think about the future. I will say this, that one problem that often arises as a Lenape Delaware Pawnee Kiowa person is we're often talking about the past, and I really like to talk about the future and to work with organizations that are thinking about the future. Li:I can relate to that. Nathan:I think it's a misunderstanding. We always really are talking about the future. I've had the great fortune to be around some people. Actually, I grew up in the capital of the Cherokee Nation, Oklahoma. A lot of people know that Oklahoma is the home to 39 federally recognized tribes. I was fortunate enough to grow up in Tahlequah, which is the capital of the Cherokee Nation, and was able to be around a well-known and respected medicine man named Crosslin Smith, also an author. I remember being a part of an interview with Crosslin. I grew up, he was a family friend.He said, "I'm often asked about the old or ancient ways and the new ways." What Crosland said was, and I'll try my best to articulate this idea, is that there is no difference between the ancient ways and today. These things still exist. It might be an illusion or we might not be able to comprehend or understand it, but there is no difference between the ancient, when we're thinking of things in the sense of the sublime, I think. There is no understanding the ancient and what is contemporary. That was really an important moment for me as an adult. To hear him articulate that was really important. So I think about that. I'm not really sure about a lot of things, but I really like to think about that when I'm working. Li:It kind of runs through your mind as you're working and creating. It's a deep thought, that's for sure, connecting those things. Even thinking back on your own personal history with sound, when did you first connect your relationship to place and homeland to sound and music? Nathan:Well, my earliest remembrances of music, honestly, are my dad driving me around in his truck, picking me up after school, and singing peyote songs, Native American Church songs, peyote songs. The members of the Native American Church call that medicine. My father was an active member of a chapter of the Native American Church at that time. I was fortunate enough to receive my Lenape Delaware name in a peyote meeting. But the first things I remember are the music he played in the car, but really the singing in the car, the singing in the truck that he would do of those peyote songs. Even after he quit going to meetings or he wasn't active in the Native American Church anymore, he still would sing these peyote songs, and I would ask him about the peyote songs, because they're different for every tribe. The forms, they still have their kind of conventions, but they're very tribally specific.Everything in what we call legally Indian Country here in the United States is super hyper local. So just down the road, that's really the beautiful thing about living in Oklahoma, is you have people whose ancestors are from northeast, southeast, southwest. There's only one tribe here from California. So it's a really rich place for sound and song. Both of my parents are Indigenous American Indian. My mother is Pawnee and Kiowa. My father is Lenape Delaware. I also grew up around the Big Drum, what we call the Big Drum at powwows. I never became a powwow singer or anything like that. Never learned anything around the Big Drum. But I did eventually learn Pawnee songs, Native American Church Pawnee songs.But really, I was just a kid in a small town in Oklahoma. When skateboarding hit and you become kind of an adolescent, you start to discover punk rock and things like that. Those to me were the way that the culture was imported to me. I didn't realize that I was already surrounded by all this beautiful culture, all of the tribes and my parents' tribes and my grandparents'. But then it was like a transmitter. Even these tapes were just transmitters to me. So those were really important also. I have a lot of thoughts about sound. Other thing I remember is my father often would get onto us or make fun of us for being so loud and saying we would be horrible scouts or hunters.Li:Making too much noise. Nathan:The Native Americans, yeah, yeah. We weren't stealth. You'd hear us coming a mile away. So he would always say, "You wouldn't be a very good one," just to try to get us quiet down.Li:No one wants to be a bad hunter, right? Can you break down the concept of Indigenous Sonic Agency? is this based on ancestral traditions, your artistic practice, academic scholarship, or a bit of all the above? Nathan:Well, Indigenous Sonic Agency is really one piece of a larger subject sonic agency, which I encountered in a book titled Sonic Agency by Brandon LaBelle. I was a former member of this collective, Postcommodity, and I'm reading this book. When we were first starting the collective, we had the opportunity to work with this Czech poet named Magor, Ivan Jirous Magor. It means blockhead, I believe. It's a nickname. He was kind of described as the Andy Warhol of the Plastic People of the Universe. He was an art historian. He spent most of his life in prison just for being an artist, an art historian. He was an actual musician. He didn't play with the Plastic People of the Universe, to my knowledge, but he did to write the lyrics, to my knowledge. We had the opportunity to record with Magor. So I'm reading this book about sonic agency, and here I find somebody that I'd actually had an experience with sonic agency with in my early days and as a young man and an artist.But ultimately Indigenous Sonic Agency is, in some sense, similar but different to tribal sovereignty. So when you think of agency or sovereignty, it's something that they sometimes get mixed up. I'm really trying to parse the differences between this, what we understand so well as political sovereignty as federally recognized tribes and what agency means, say, as an artist. But in my research, in the subject of sonic agency and Indigenous Sonic Agency, it encompasses pretty much everything. That's what I love about sound. Everything has a sound, whether we can hear it or not. Everything is in vibration. There are sounds that are inaudible to us, that are too high or too low. Then there's what we hear in the world and the importance of silence with John Cage. I think that they're just super productive.I was introduced really to sound studies through this book called Sonic Warfare by Steve Goodman. It was really about how the study of sound was, in a sense, still emerging because it had mostly been used for military purposes and for proprietary purposes such as commercials and things like that. As I stated earlier, I felt like music was my connection to a larger world that I couldn't access living in a small town. So even everything that came with it, the album covers, all that, they really made an impression on me as a young person, and it continues to this day, and I've been focusing deeply on it.My studies in sonic agency -- Indigenous Sonic Agency -- encompass everything from social song, sacred song, voice, just political speech and language, political language. There's so much work to be done in the emerging sound studies field. I felt that Indigenous Sonic Agency, there was a gap there in writing and knowledge on it. Now though, I acknowledge that there has been great study on the subject such as Dylan Robinson's book, Hungry Listening. I am fortunate enough to be around a lot of other Indigenous experimental artists who work in all the sonic fields. So it's an all-encompassing thing. I think about the sacred, I think about the political, I think about the nature of how we use it to organize things and how language works. Silence is a part of it. Also, listening is very important. It's something that I was taught at a very young age. You always have to continue to hone that practice to become a better and better listener. Li:That's the truth. Nathan:My grandmother was very quiet, but whenever she did talk, everybody loved it. Li:That's right. That's right. Let's talk about the Pennsbury Manor project. Can you share how you, Ryan Strand Greenberg, and Theo Loftis met and how nkwiluntàmën came to be? Nathan:Well, to my recollection, I try to keep busy around here, and oftentimes it means traveling to some of the other towns in the area such as Pawnee or Bartlesville or Dewey or Tahlequah. I wasn't able to do a studio visit with Ryan, but I wanted to see his artist talk that he was giving at the Tulsa Artist Fellowship, which I was a fellow at at that time. I remember seeing these large public art projects that were being imagined by Ryan. We had worked on some other projects that, for one reason or another, we weren't unable to get off the ground. Eventually, Pennsbury Manor was willing to be this space where we could all work together. I remember rushing back and being able to catch Ryan's artist talk. Then right before he left town, we had a studio visit and found out how much we had in common concerning the legacy of the Lenape in the Philadelphia area, what we used to call Lenapehoking. So it was a really a moment of good fortune, I believe. Li:Monument Lab defines monument as a statement of power and presence in public. The nkwiluntàmën project guide describes Pennsbury Manor as a space to attune public memory. It goes on to say that sites like these are not endpoints in history, but touchstones between generations. I really love that statement. Do you think Pennsbury Manor and the land it stands on, do you consider it a monument in your eyes? Why or, maybe even, why not? Nathan:Well, yeah, I would definitely consider Pennsbury Manor, in a sense, a monument. I think that we could make an argument for that. If we were talking about the nature of it being William Penn's home and it being reconstructed in the 20th century, you could make a very strong argument that it is a monument to William Penn and also as William Penn as this ideal friend to the Indian. Some people don't like that word. Here in Oklahoma, some of us use it. Technically, it was Indian Country legally. But I use all terms: Native American, Indigenous, Indian. But I'd mostly like to just be called a Lenape Delaware Pawnee Kiowa.I definitely would say that you could make an argument that is a monument to William Penn especially as part of that, as this ideal colonist who could be set as a standard as for how he worked with the Lenape and then other tribes in the area at the time. I think that's kind of the narrative that I run into mostly in my research, literally. However, I would not say that it was established or had been any type of monument to my Lenape legacy. I did not feel that... I mean, there was always mention of that. It was, like I said, as this ideal figure of how to cooperate with the tribes in the area. But I would definitely say it's not a monument to the Lenape or the Delaware or Munsee.Li:Can you share a bit more about the project itself in terms of nkwiluntàmën and what exactly you did there at Pennsbury Manor to shift and really inform that history from a different perspective? Nathan:Well, first of all, at Pennsbury Manor, I was given a lot of agency. I was given a lot of freedom to what I needed to as an artist. I was really fortunate to be able to work with Doug and Ryan and Theo in that manner where I could really think about these things and think deeply about them. I started to consider these living history sites. My understanding is that they're anachronisms. There's a lot of labor put into creating a kind of façade or an appearance of the past, and specifically this time, this four years that William Penn was on this continent. So this idea that nothing is here that is not supposed to be here became really important to me. What I mean by that is, say, if you threw in a television set, it kind of throws everything off. Everybody's walking around in clothing that reflects that era and that time. If you throw some strange electronics in the space, it kind of is disruptive. I didn't feel the need to do anything like that.I felt that one of the great things about working in sound and one of the most powerful things about sound is that sound can also be stealth. You can't see sound. We can sonify things or we can visualize it or quantify it in different ways. But to me, this challenge of letting the place be, but using sound as this kind of stealth element where I could express this very, very difficult subject and something that really nobody has any answers to or is sure about... I was trained as an art historian, and I know that we're only making guesses and approximations just like any doctors. We are just trying to do these things.But sound gave me the ability at Pennsbury Manor and nkwiluntàmën to work stealthy and quiet, to not disturb the space too much because there's important work that's done there, and I want to respect people's labor. As a member of the Delaware tribe of Indians of Lenape, I felt that it was a great opportunity to be the person who's able to talk about this very difficult subject, and that is not lost on me. That's a very, very heavy, very serious task. Li:Yeah, big responsibility. Nathan:Yes. It is not lost on me at all how serious it is, and I feel very fortunate. I think without such a great support system in place, it wouldn't have been possible. nkwiluntàmën means lonesome, such as the sound of a drum. We have a thing called the Lenape Talking Dictionary,  Li:I've seen it. I've seen it. Nathan:I'm often listening. I'm listening to Nora Dean Thompson who gave me my Delaware name, my Lenape name, Unami Lenape name in a peyote ceremony. So I often go there to access Delaware thought and ideas and to hear Delaware voices and Delaware language being spoken. I know that some people have different views on it, but let's say, I think artists and people have used the Unami Lenape before and art exhibitions as a lost or an endangered languages. I know that in the entire state that I live in, and in most of Indian country, there's a great language revitalization movement that I was fortunate to be a part of and contribute to.Really, that's where I discovered that that's really where through language, there's nothing more Lenape, there's nothing more Delaware, Unami Lenape than to be able to talk and express yourself in that manner or, say, as a Pawnee or a Kiowa to be able to talk and express. Embedded in those words are much more than just how we think of language. They're really the key to our worldviews. Our languages are the keys to our worldview and really our thought patterns and how we see the world and how we should treat each other or how we choose to live in the world or our ancestors did. So I'm fascinated by the language. I was fortunate enough to be around many, many different native languages growing up. But ours was one because of the nature of us being a northeastern tribe that was very much in danger of being lost. Some would say that at one point it was a very, very, very endangered language to the point to where nobody was being born in what we call a first language household, where everybody could speak conversationally in Unami Lenape.So these things, we all think about this, by the way, all of my community, the Delaware Tribe of Indians. I was fortunate enough to serve on the Tribal Council as an elected member for four years. We think about these things definitely all the time, and people do hard work to try to revitalize the language. I know at this time that the Delaware Tribe of Indians is actively working to revitalize our language. Li:That's a part of that preservation and remembrance because your work, really does explore this idea of ancestral remembrance and is rooted in that. Then again, you're also engaging with these historic sites, like Pennsbury Manor, that tap into public memory. So in your thoughts, how are ancestral remembrance and public memory connected? Are there any similar ways that they resonate? Nathan:Well, I think of different communities of remembrance. Within this idea of memory there are just different communities. I don't want to want to create a dichotomy, but it's easily understood by those who focus on the legacy of William Penn and those who focus on the legacy of the Lenape or the Pawnee. But ancestral memory is key to my culture, I believe, and I really don't know any way to express it other than explaining it in a contemporary sense. If you're deeply involved in your tribal nation, one of the one things that people will ask you is they'll say, "Who are your folks?" Literally, people will say, "Who are your folks?" Li:Who are your peoples? Nathan:"What family do you come from?" I didn't start to realize this until I was an adult, of course. It's not something you think you would ever think of as a child or anything. It started to become really apparent to me that we're families that make up communities that have stayed together in our case for hundreds of years across thousands of miles. It's a point to where we got down to very small numbers. We still stuck together. Then there was also a diaspora of Lenape that went to Canada, the Munsee and the Stockbridge. There was the Delaware Nation who has actually lived more near the Kiowa. My grandmother was Kiowa. But we still had the same family names. For instance, there are people and members of the Delaware Nation that are actually blood related to the Delaware Tribe. So that is really our connection to each other is our ancestors. That's purely what binds us to together is that our ancestors were together, and we just continue that bond. Li:Thank you. A part of Monument Lab's mission is to illuminate how symbols are connected to systems of power and public memory. What are the recurring or even the most vital symbols illuminated in your work? Nathan:Oh, that's a really tough question because my work is all over the place. I work across a lot of different mediums, although I've trained as an art historian, so I came into this as a visual artist. I just happened to be a musician and then discovered installation art and how sound works in art. But for me, the story I feel that I'm trying to tell cannot be held by any number of symbols or signs. I want to give myself the freedom and agency to use whatever is needed, actually, whatever is needed to get across the idea that is important to me. So going back to nkwiluntàmën, lonesome, such as the sounds, these colors, we use these white post-Colonial benches, and there's four large ones, placed across the grounds of Pennsbury Manor. You'll see that, if one were to visit, they would see a black bench, a yellow bench, a white bench, and a red bench. Nathan:If you're from my community, a Delaware Tribe of Indian member and you know that you're a Lenape, you understand that those colors have meaning to our tribe, and you'll know that those colors have sacred meaning. So in some sense, I will use whatever I think is the most appropriate way to use it also. I want to give myself the freedom to use any type of symbolism. I loved growing up with my mother and my grandmother being able to go to powwows. My mom would say, "Well, here comes the Shawnee women. Here comes the Delaware women. They dress like this. Here comes..." Li:You can recognize from their dress. Nathan:My mother and my grandmother taught me that iconography of our clothing, what we now call regalia. Li:I was curious if perhaps the drum or even the idea of homeland show up in your work? Nathan:Oh, they definitely show up in my work when appropriate. But rather than a drum, I would say sound or song or music. We do have these iconographies and symbols that are deeply meaningful to us, and I often use those in my artwork. But really the question for me is how to use them appropriately and, also at the same time, expand the use of these things appropriately. It's just being accountable to your legacy and your community in a sense and not crossing these boundaries, but still at the same time pushing form, pushing the edge.I'm a contemporary person. We're all contemporary people. We want to add something. We want to contribute. We want to be useful. So I'm searching for symbols and forms all the time, different ones. Whether it be a mound, whether it'd be a swimming pool inside an art gallery or a singing park bench or a post-Colonial bench in Pennsbury Manor, in some ways you could say I would be indigenizing and musicalizing those benches. But I consciously work to have a very broad palette. I want my work to be expansive and be able to encompass any subject or idea, because that's why I got into art is because you can talk about anything.Li:Yeah, it's boundless. It's boundless. Then also thinking about the connections and the symbols that you mentioned, the colors that you mentioned, the iconography, what systems of power might they be connected to? Nathan:Well, ultimately, I think that most of the power that is embedded in these symbols comes from the sublime, that come from the sacred. It's complicated. The sacred means to not be touched. That's my understanding, it's to not be touched. However, it's been the source of inspiration for artists of any continent of any time is, if you want to call it, a spiritual, sublime, religious connection, inspiration, whatever, but ultimately, that is my understanding. From my research, even as a young person studying Pawnee mythologies at the University of Oklahoma and special collection and learning stories, our origin stories and what color meant and how the world was seen by my ancestors from other tribes as well as Lenape stories, it's something that's hard to grasp and to hold onto, but that's how we've come to identify each other. It's as simple as we have car tags here that represent our tribes. We have a compact with the state. So everybody's looking around at all these different car tags.Li:Wow. Nathan:You see a regular Oklahoma one, and then you'll see... A very common one is a Cherokee because they're one of the biggest tribes. You'll see a blue one, it's Pawnee. Now you'll see a red one, and it's Delaware or Lenape. It says Unami Lenape on it, and it has our seal. So we play this kind of game all of us. I mean, it's not a game, but we're always looking at license plates to see... It might be your mom's car you're driving that has, say, a Kickapoo license plate or something, and it's a Cherokee driving it or a non-Indian or something, a relative, say. It's not for me to say where these came from. It's something that I actually just really explore and that fascinates me. It's very rich growing up and being a member of my tribal communities. I learn something new almost daily. Li:I can imagine like you said, the learning experience that you have as a child growing up in your community. You mentioned mythologies earlier. I study mythology. One of the purposes I've come to understand is education, educating through these stories. I recently interviewed Jesse Hagopian from the Zinn Education Project and the movement for anti-racist education. The struggles for education reform and reckoning with Eurocentric understandings of history seem to be deeply connected efforts. So on nkwiluntàmën, I understand an educational curriculum has been developed for younger audiences. What do you hope that people take away from this project that they might not find in a textbook or a classroom? Nathan:Well, I would hope that when people visit the large-scale sound installation and visual elements of it that they would understand... my greatest hope that people would learn what I learned while creating the work was that I really don't know what it felt like. I just came across, I was looking for the words in the Delaware Talking Dictionary for feelings, and I found a sentence or a way of saying feeling that said, "It did not penetrate me. I did not feel it." It made me realize that I don't know. I've never had this happen to me. The history of the Delaware Lenape is of constant removal, of constant pushing. Most people know the Cherokee Nation and the Trail of Tears. Actually, there were many movements of the Cherokee. It's very complex. All tribes are very complex. You always have to qualify. But the Trail of Tears is what most people know about. It was this very long, two-year complex journey. It was fraught. Li:That's one of the stories that we learned in school, if at all. Nathan:So our story is of nine of those and, to my understanding and research, was about once every 30 years. So it seemed to me that most Lenape, who came to be known as the Delaware Tribe, who I grew up with as, had ancestors that had experienced a removal. It's something that we still live and deal with today. We came to Oklahoma from what is now Lawrence, Kansas, when this was called Indian Territory. We had been living before that north of Kansas and had adapted our way of life as we changed across this territory and through time to survive.So as we moved into the Plains, we started to hunt buffalo, and then we get kind of crosswise with some other tribes. I think when the federal government was constituting Indian Country, they were concerned with the relationships between other tribes and how they felt. My understanding is we had upset some... By Buffalo hunting and adopting that way of survival and life, there was some trepidation about us. They wanted our reservation. The railroad wanted our reservation, and Lawrence, Kansas, to run directly through our reservation. They were forcing us to move off that reservation, and they couldn't find a place. That was kind of my understanding of the situation. So we ended up in the northernmost part of the Cherokee Nation. This made us a landless tribe for a very, very long time. Technically, we didn't have a reservation. We were living in the Cherokee's reservation because we had this very ancient but kind of tangential connection to the Cherokees. So that's a very long and complicated story as well. Li:That's actually a beautiful setup for one of my last questions actually. This idea of documentation and stewardship are key for Indigenous communities, as you just mentioned, that continue to contend with stolen land, forest displacements, cultural erasure, and lost languages. Monument Lab thinks a lot about the future archives that can hold the dynamic nature of public memory in all its forms. What would a future archive of ancestral memory look, feel, or even sound like for you? Nathan Young:I love that question because we do work with future archives of our ancestors, all of us do today. So I think it's really a question of form. I've encountered this in my studies of Sonic Agency and Indigenous Sonic Agency. The invention of the phonograph and the wax cylinder are very important. It didn't look like anything. It looked like sound or that archive. I think that unknowingly, we're all living in an archive. We're archiving moments now as things speed up constantly. Paul Virilio, the theorist, was very, very important to my thinking because he theorized about speed and the speed of, say, how a camera shutter and a gun are very similar in their repeatingness. I think about repetition a lot. But today, we live in this hyper surveillance society that any moment could be archived, any moment could be filmed, and also these things will be lost. So that is a fascinating thought to think about what may survive and become the archive and what may not, even with all of this effort to constantly surveil and document everything.But it's my hope that archives are important just because they give us a deeper understanding of a connection to something we will never be able to experience. So I think that a future archive is something that we cannot imagine. We don't know what it's going to look like, and it's up to us to find out and to explore form and explore possibilities so that we're not stuck in this mindset that has to be in steel and monumentalized as a figure or a person or something like that. So in my mind, it's just to be revealed to us. We'll know later, but I would hope that were to make...I know this is what people still do today that make monuments. They want to make something beautiful, but that means something different to Lenape or a Pawnee or Kiowa, so that seems very different to us. And so we do that. We do memorialize things in different ways. But I think that we think of them as more ethereal, whether we think of them as things that we know that aren't going to really last forever. I feel that way, at least. I don't speak for all of my culture. But I know that some of us are trying to find new forms to really memorialize our past and unite our community of memory and our tribes, our experiences.Li:Like you said, time, everything's moving so fast and everything's evolving. Everything's constantly changing. So who knows what the forms will take. This has been such a wonderful conversation. I really appreciate your time. I just wanted to see if you had any final words or even gems of ancestral wisdom you might want to leave with us before we finish. Nathan:No, I can't share any ancestral wisdom, not knowingly or very well. I just appreciate the opportunity to create the piece. I appreciate the opportunity to expand upon the piece by talking with you about this because I'm just trying to figure this out. I don't have all the answers. Li:Right, that is part of  being a life learner and walking this path. Everyone's on their journey. We are constantly learning at every turn. I'm with you, Nathan. I often admit that I do not have all the answers. That is for sure. I really enjoyed learning about your work and your practice. I definitely plan on getting down to Pennsbury Manor and look forward to the curriculum for the youth when it comes out. Nathan:Well, thank you. I hope you enjoy it. I hope that it's a meaningful experience for you. I'm a very fortunate person to be able to work on such a project and very grateful to the entire team and everybody that supported the process. Li:Thank you, and thank you again to Ryan Strand Greenberg, who is also the producer of this podcast and worked with you on the project for nkwiluntàmën. Thank you to Nathan Young, our guest today on Future Memory. This is another one for the Future Memory archives.Monument Lab Future Memory is produced by Monument Lab Studio, Paul Farber, Li Sumpter, Ryan Strand Greenberg, Aubree Penney, and Nico Rodriguez. Our producing partner for Future Memory is RADIOKISMET, with special thanks to Justin Berger and the Christopher Plant. This season was supported with generous funding by the Stuart Weitzman School of Design and the University of Pennsylvania.

Of the twenty-two figures that make up the major arcana of the tarot, the Chariot is probably the most commonplace. While the tenth arcanum is a wheel, it's The Wheel of Fortune, not just any old wagon wheel. But arcanum VII is neither the Chariot of Fire or the Chariot of the Gods – just the plain old chariot. Usually, it is interpreted as a symbol of the will in its lower and higher aspects. In this episode, Phil notes that the Chariot can also symbolize something as ordinary as new car. Of course, here on Weird Studies, no car is just a car, and we like to think that Youngblood Priest, the protagonist of the 1972 film Super Fly, would agree. A car also a tool, a medium, a token of mastery, an atmospheric disturbance, a means of manifestation, a spaceship... Enroll in THE TWIN PEAKS MYTHOS (https://www.nuralearning.com/twin-peaks-mythos), a 4-week Weird Studies view-along starting June 8th. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Support us on Patreon (https://www.patreon.com/weirdstudies) and gain access to Phil's podcast on Wagner's Ring Cycle. Download Pierre-Yves Martel's new album, Mer Bleue (https://pierre-yvesmartel.bandcamp.com/album/mer-bleue). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Rachel Pollack, Tarot Wisdom (https://bookshop.org/a/18799/9780738713090) Jordan Parks Jr., Super Fly (https://www.imdb.com/title/tt0069332/) Our Known Friend, Meditations on the Tarot (https://bookshop.org/a/18799/9781585421619) Weird Studies, Episode 144 on “Hellraiser” (https://www.weirdstudies.com/144) Plato, Phaedrus (https://bookshop.org/a/18799/9780140449747) Vanessa Onwuemezi, Dark Neighborhood (https://bookshop.org/a/18799/9781913097707) J. G. Ballard, Crash (https://bookshop.org/a/18799/9781250171511) Paul Virilio, War and Cinema (https://www.goodreads.com/en/book/show/979442) Karl Marx, Grundrisse (https://www.marxists.org/archive/marx/works/1857/grundrisse/) Weird Studies, Episode 26 with Michael Garfield (https://www.weirdstudies.com/26)

Ecclesiastes 3:1-8 says that "For everything there is a season, and a time for every matter under heaven." There's a time to talk about Marxism and a time to talk about queer theology. A time to talk about Paul Virilio and a time to talk about communist Saint Francis. But, this week we're entering a new season: getting goofy. This week we're bringing our Patreon only podcast The Lock In out from behind the paywall and giving it to you all for free! If you're into this goofy content, then subscribe to our patreon and get it! Or don't!  Thanks to our monthly supporters Mikegrapes Kate Alexander Calderon Alejandro Kritzlof Caleb Strom Shandra Benito Andrew McIntosh Peter Shaw Jordan Bishop Kerrick Fanning Josh Collier Jonathan Taylor Jennifer Kunze Damon Pitiroi Trevon Tellor Yroffeiriad Matt Sandra Zadkovic Stephanie Heifner Patrick Sweeney Felicia Aaron Morrison lexiiii Leslie Rodriguez ES Sarah Clark Thomas J. Millay Timothy Trout Kinsey Favre darcie wilder Name Nathanael Nelson Colm Moran Stewart Thomas Lonnie Smith Brendan Fong Kylie Riley gayatri Darren Young Josh Kerley koalatee Tim Luschen Elizabeth Davis Lee Ketch Austin Cyphersmith Ashton Sims Patrick Humpal Fin Carter Ryan Euverman Tristan Turner Emily JCF Linzi Stahlecker Matthew Alhonte John Samson Fellows alex zarecki rob Kathryn Bain Stephen Machuga Connor Campbell zane big chungus Jen Jurgens Caitlin Spanjer Collin Majors Victor Williams Daniel Saunders David Huseth Andrew Brian Nowak erol delos santos Aaron Forbis-Stokes Josh Strassman Cal Kielhold Luke Stocking Sara Trevor Pullinger Brian S. Ryan Brady Taylor Williams drew k Matthew Darmour-Paul saheemax Adam Burke Peter Pinkney Zambedos Andrew Guthrie Adrian Kevin Hernandez Wilden Dannenberg Evan Ernst jessica frances Tucker Clyle Christopher RayAlexander Peter Adourian Dan Meyer Aaron Guro Benjamin Pletcher John Mattessich Caleb Cropper-Russel Tristan Greeno Steve Schiroo Robert Clelland Curtis Kline Anastasia Schaadhardt Scott Pfeiffer Ben DeVries Ryan Felder Terry Craghead Peter Moody Josiah Daniels yames Thaddaeus Groat Elisabeth Wienß Hoss Tripp Fuller Avery Carrie Dez V Danny Zane Guevara Ivan jess Carter Ryan Plas Jofre Jonas Edberg Tom Tilden Jo Jonny Nickname Phil Lembo Matt Roney Parker Rybak Stephen McMurtry otherstuffandthings Andrew Ness Johana-Marie Williams James Willard Noj Lucas Costello Dónal Emerson Robert Paquette Ashley Contreras Amaryah Shaye CommieChristian.com Frank Dina Mason Shrader Sabrina Luke Nye Julia Schimanek Matthew Fisher Michael Vanacore Tom Nielsen Elinor Stephenson Max Bridges Joel Garver SibilantStar Devon Bowers Daniel David Erdman Madeleine E Guekguezian Tim Lewis Logan Daniel Daniel Saunders Big Dong Bill Jared Rouse Stanford McConnehey sophie swan Dianne Boardman klavvin Angela Ben Molyneux-Hetherington Jared Hobbs Keith Wetzel Nathan Beam, Nazi Destroyer Dillon Moore Renee DeSpain HJ25 Abby Johnson Ibrahím Pedriñán Brando Geoffrey Thompson Some Dude M.N. Brock Barber Geoff Tock Kaya Oakes Ahar Tom Cannell Stephen Adkison Troy Andrews Andy Reinsch J Martel Andrew VanStee K. Aho Jimmy Melnarik Ian SG Daniel Rogers Caleb Ratzlaff emcanady

Göç kavramının mahiyeti de, tarifi de değişiyor hızla.. Göç kavramı, köklü anlam değişiklikleri geçiriyor son beş asırdır. Göçebe toplumlardan yerleşik toplumlara, oradan Avrupalıların bilimsel devrimleri, keşifler çağı serüvenleri, sömürgecilik ve emperyalizm tecrübeleri, kapitalizmin küreselleşmesi ve küreselleşmenin bütün sınırları yok etmesiyle küresel gerçeğe dönüşen sanal göçebelik hayatı yaşayan insanlara geçiş süreci çok travmatik oldu... Önceden toplumlar yer değiştiriyordu: Mekânda gerçekleşen bir yolculuk eylemiydi göç olgusu. Bugün göç olgusu, artık zihinsel olarak gerçekleşiyor; mekânı bile yok edecek, mekân duygusunu, aidiyet bilincini buharlaştıracak niteliksel bir dönüşüm gerçekleşiyor göç olgusunun kendisinde... Ancak göç olgusunun kendisinde yaşanan bu niteliksel değişim, bütün insanlığı niceliğin, araçların hükümran olduğu, anlamın anlamsızlaştığı, değerin değersizleştiği, hayatın çölleştiği hakikat fikrinin yitirildiği, güçlünün haklı olarak görülebildiği darwinyen orman kanunlarının hükmünü icra ettiği kaotik bir felâketin eşiğine fırlatıyor bütün insanlığı... KÜRESELLEŞME SÜRECİ: ÖLÇEK BÜYÜDÜ AMA UFUK DARALDI! Küreselleşme sürecinin bütün dünyada hissedildiği bir zaman diliminde yaşıyoruz... Küreselleşme sürecini, ölçek büyümesi ama ufuk daralması olarak tanımlayabiliriz: Evet bir ölçek büyümesi var: Ekonomik sınırlar, kültürel sınırlar, zihnî sınırlar ortadan kalktı: Paul Virilio'nun yerinde tanımlamasıyla “coğrafyanın sonu”nu yaşıyoruz. Sadece coğrafyanın sonunu değil, mekân duygusunun, geçmiş ve gelecek zaman duygusunun iptal edilmesi, zamanın tek bir zamana, genişletilmiş bir geniş zamana hapsedilmesi, zamanın sadece buradan ve şimdi'den ibaret hâle gelmesiyle birlikte tarih duygusunun, dolayısıyla zaman fikrinin de problemli hâle geldiği ontolojik bir ufuk daralması olgusuyla karşı karşıyayız. Ölçek büyüyor ama insanın ufku da, dünyası da daralıyor: İnsan, sadece hızın, hazzın ve ayartanın peşinde koşturan insanaltı bir varlığa dönüşüyor, nefs-i emmaresi'nin, kötülüğü emreden nefsinin arzularının kölesi hâline geliyor... Bu da, dünyanın orman kanunlarının hükümfermâ olduğu yeni-barbarlık biçimlerinin arenasına dönüşmesini kolaylaştırıyor... BENZERİ GÖRÜLMEMİŞ BİR MODERN BARBARLIK Bir açıdan bakıldığında ontolojik bir felâkete dönüşen küreselleşme süreci, modernite sürecinin nihâî aşaması ve mantıkî sonucudur. Modernite projesi, insanın tanrılaştırılması çabasıdır: Heidegger, bu gerçeği, “insanın her şeyin ölçüsü ve ölçütü katına yükseltilmesi” olarak tanımlar. Tanrı fikrini yitiren modern insan, elbette ki, tanrılaşma açmazına soyunacaktı. Modern insanın tanrılaşma açmazına soyunmasını, modernliğin kurucu düşünürü Descartes, “tabiatın efendileri ve hâkimleri olacağız” diyerek hem izah etmiş hem de meşrûlaştırma yoluna girmişti.

I've been reading Cal Newport's “Deep Work: Rules for Focused Success in a Distracted World”. It really clearly articulates many things that I've learnt and practised in my professional life. I have written about many of them in the past year, but I'll admit that it was all mostly haphazard. So today I will pull all of that together, summarise the little I've read of the book and give you a quick primer on how to do deep work. Winning in the digital ageOur current technology-disrupted world gives the biggest rewards to very specific groups of people; owners of capital or people with access to it, those who can work with intelligent technology and those who are superstars in their field. According to Cal Newport, the most accessible of these is the last one. However, to become a superstar in your field, you need to master two skills: The ability to quickly master hard things. The ability to produce at an elite level, in terms of both quality and speed. “As intelligent machines improve, and the gap between machine and human abilities shrinks, employers are becoming increasingly likely to hire “new machines” instead of “new people.” And when only a human will do, improvements in communications and collaboration technology are making remote work easier than ever before, motivating companies to outsource key roles to stars—leaving the local talent pool underemployed.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.Because of the rise of digital technology, we have to learn new skills to stay competitive. But, digital technology is changing at such a blistering pace that it's easy for your newly gained prized skills to become obsolete. So it's a continuous rat race to keep up. As if that's not enough, the most valuable of these digital skills are really complex and quite difficult to learn. So you don't just need the ability to learn fast, you need the ability to learn hard things fast. That's the first challenge. “And because these technologies change rapidly, this process of mastering hard things never ends: You must be able to do it quickly, again and again.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.The rise of digital technologies has also led to rapid improvements in digital communication. This has set the stage for remote work and many companies that were ahead of the curve—mostly tech companies—rode this wave quite early to expand their talent pool. Then the COVID-19 pandemic came and lockdowns made it an imperative for any company that wanted to survive, opening everyone's eyes to the fact that it's not only possible but most times preferable for both employees and employers. As a result, we no longer compete with people in our geographical vicinity for work. We're now competing on a global stage. This means that our abilities need to be competitive on a global stage. With the talent pool so vast, every company is looking to hire the best they can get. So if you want to get the best jobs, you, therefore, need to perform at an elite level. That's the second challenge. “If you want to become a superstar, mastering the relevant skills is necessary, but not sufficient. You must then transform that latent potential into tangible results that people value.… [performing at an elite level requires you] to push [your] current skills to their limit and produce unambiguously valuable and concrete results.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World. (edited to fit)Now that we understand the abilities we need, the next obvious questions are, How does one cultivate these abilities? And what does this have to do with deep work? Well, the two abilities just described depend on your ability to perform deep work. Hard things are complex and you need to give them all your attention and focus. If you haven't mastered this foundational skill, you'll struggle to learn hard things or produce at an elite level.What is deep work?If deep work is the avenue through which we learn to master difficult things fast and perform at elite levels, why isn't everyone doing deep work? To understand this better, let's first understand what exactly is deep work. Every piece of work that you do can be classified into one of two categories. Deep work and shallow work. Cal Newport defines deep work as “professional activities performed in a state of distraction-free concentration that push your cognitive capabilities to their limit. These efforts usually create new value, improve your skill, and are hard to replicate.” On the other side of the spectrum is shallow work, “non-cognitively demanding logistical-style tasks, often performed while distracted. These efforts tend not to create much new value in the world and are easy to replicate.” These are the most common work rituals of our modern world; sitting through meetings, responding to email, writing non-cognitively challenging reports, etc. “Deep work is hard and shallow work is easier and in the absence of clear goals for your job, the visible busyness that surrounds shallow work becomes self-preserving.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.Many of our misguided value systems place a lot of value on busyness over productivity. We have the illusion that keeping a full schedule and being a busy body is the way to work. However, producing at an elite level is less about time spent working than it is about the quality of the work put in it. Newport advises that to produce at an elite level, we need to consolidate our most cognitively demanding work into intense and uninterrupted pulses. This batching of hard but important intellectual work into uninterrupted stretches is key to high productivity. Thus, the new law of productivity is.High-Quality Work Produced = (Time Spent) x (Intensity of Focus)By maximising the intensity of our focus when we work, we can maximise the quality of results we produce per unit of time. And if we do this effectively, we won't need to have a perpetually fully schedule or to be busy all the time. While we can't escape shallow work entirely, we should aim to reduce the time spent on it, thus maximizing the time we have for deep work.Deep work through deliberate practiceSome people seem to have this innate skill in hard things. They breeze through it like it's nothing while you struggle to understand the basics. It's easy to look at that and think that these people are natural prodigies. Hollywood loves prodigies and might be responsible, to a large part, for making us think this way. However, in reality, there are very few prodigies. Most people who have mastered cognitively demanding things have done so through deliberate practice and hyper-focused work. “Let your mind become a lens, thanks to the converging rays of attention; let your soul be all intent on whatever it is that is established in your mind as a dominant, wholly absorbing idea.” — Antonin-Dalmace Sertillanges, The Intellectual Life.Cal Newport describes the following as the key components of deliberate practice: Your attention is focused tightly on a specific skill you're trying to improve or an idea you're trying to master. You receive feedback so you can correct your approach to keep your attention exactly where it's most productive. You cannot be efficient in your deliberate practice amidst distraction. If you cannot keep your focus on the specific skill you're learning, you're introducing inefficiencies to the learning process that will keep you from truly mastering it. “To learn hard things quickly, you must focus intensely without distraction. To learn, in other words, is an act of deep work. If you're comfortable going deep, you'll be comfortable mastering the increasingly complex systems and skills needed to thrive in our economy. If you instead remain one of the many for whom depth is uncomfortable and distraction ubiquitous, you shouldn't expect these systems and skills to come easily to you.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.Deep work optimises performanceTo produce at your peak level, you need to work for extended periods with full concentration on a single task, free from distraction. Put another way, the type of work that optimizes your performance is deep work. If you're not comfortable going deep for extended periods of time, it'll be difficult to get your performance to the peak levels of quality and quantity increasingly necessary to thrive professionally. Unless your talent and skills absolutely dwarf those of your competition, the deep workers among them will outproduce you.“… the common habit of working in a state of semi-distraction is potentially devastating to your performance. It might seem harmless to take a quick glance at your inbox every ten minutes or so.… [but] that quick check introduces a new target for your attention. Even worse, by seeing messages that you cannot deal with at the moment, you'll be forced to turn back to the primary task with a secondary task left unfinished. The attention residue left by such unresolved switches dampens your performance.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.Developing the ability to do deep workAs I mentioned at the start, some of Cal Newport's ideas are things I've adopted throughout my life. Here's a summary of the ones I've written about. (I'll get into a bit of self-promotion here, so please forgive me, it's done with the best of intentions.)Overstimulation is ruining your life | Just Reflections - Issue #44The barrage of highly stimulating content that digital media is constantly throwing at us is making us addicted to sensory overstimulation. This is degrading our ability to do deep work, which is typically not very stimulating on a sensory level. That's why you feel that persistent itch to open another browser tab or check your notifications while working when it “becomes too quiet.”The challenge I give you is to think about the amount of stimulation that's in your life. What's adding value to your life and what's desensitising you? How can you reduce the amount of super-normal stimuli that you're indulging in daily? You might find that by reducing the time you spend looking at screens, you could start to look forward to reading a book instead of watching a TV show. Who knows, you might even start taking walks without your phone to be alone with your thoughts in nature? You can read more about this in issue 44. Allow yourself to be bored | Just Reflections - Issue #34Most of us accept and understand that distraction isn't good for our productivity. However, most of us are also really uncomfortable with being bored. As a result, we want to fill every empty moment. We find it really uncomfortable to just sit with our thoughts. Waiting in a long queue? Check what's trending on Twitter. Waiting for that long build process at work? Check what's going on in Ukraine. Conversation running dry at the dinner table? Check whether you've gotten any important emails. You may do these things only in your leisure, but it is training you to fill lulls in activity with distraction. So even when you sit down for deep work, you'll feel the itch. Even if you resist the action, those thoughts are enough to drive some of your focus away, preventing deep work. The solution? Train yourself to be comfortable with boredom. Don't yield to the urge to fill every quiet moment with distraction. Just sit quietly with your thoughts. Don't listen to music or podcasts when you go for walks, just take in the atmosphere and watch the people and think. Your brain will eventually get used to these quiet moments and when the time for deep work comes, you won't feel so uncomfortable. “...[be] fully present in each moment and [enjoy] where [you] are. Slow down and enjoy the little things you walk past every day. Breath in the air, let the rain hit your skin, laugh with friends, take in the view. Those brilliant and vibrant parts of life are just as worthy of celebration as accomplishing our big goals.” — Soul, Pixar movie. Check out issue 34 to learn about how your aversion to boredom might also make you less creative, less altruistic, less likely to assess your current state and less likely to set goals for the future.Put your phone down | Just Reflections - Issue #16Speaking of filling the gaps, many of us have a seriously toxic relationship with our phones. Smartphones are incredibly useful devices. In the digital age, we speak of information being at our fingertips largely because nearly all of us carry these connected devices with us everywhere. Many of us literally have our phones in our hands for most of the day. But as philosopher Paul Virilio wrote, “When you invent the ship, you also invent the shipwreck.” As good as phones are, they also take away a lot from us. One of those things is true human connection. We miss out on a lot because our eyes and minds are constantly glued to our phones. It's an acceptable thing now to meet up with someone in person and then both of you spend half the time on your phones talking to other people who aren't present there with you. And the other half commenting on all the things you're seeing in your feeds.How is this relevant to deep work? Well, part of deep work involves using downtime to enhance the next deep work efforts. This involves getting adequate rest by fully disconnecting from work so that we have enough physical and mental energy for it when we get back to it. But it also involves being fully present with our loved ones when we're not at working. We won't be able to achieve this well enough if we're tethered all the time. We all know that our phones are also our biggest sources of distraction. I give more comprehensive advice about learning to put away your phone in issue 16.Learning Things | Just Reflections - Issue #6You probably don't know as much as you think you do. We've been spoiled by the intuitive and drop-dead-simple user experience of many consumer-facing technologies these days. The accessibility of information makes it easy to quickly Google random facts on demand. And when you want to learn something fast, there's probably a YouTube video for it to give you a quick on-ramp. This leaves us with the illusion that we have a deep understanding of many things yet in reality, these avenues rarely give deeply set knowledge. Sure, they're useful as a quick reference to get up to speed, but without intentionally focused study, that knowledge quickly fizzles off. We need to challenge our beliefs about our competency levels consistently.Bigger than that, we need to develop a reliable system for learning things. I go into more detail on this in issue 6. Minimise your reliance on willpowerIn an environment and culture that makes deep work difficult, we have to introduce smart routines and rituals to our working life. These should minimise the need to reach for our limited willpower when making decisions about work so that we maximise opportunities for unbroken concentration. “The key to developing a deep work habit is to move beyond good intentions and add routines and rituals to your working life designed to minimise the work of your limited willpower necessary to transition into and maintain a state of unbroken concentration.” — Carl Newport, Deep Work: Rules for Focused Success in a Distracted World.One key way of doing this is scheduling deep work sessions on your calendar and sticking to them. Scheduling in advance takes away the need to use willpower. Be as detailed as you can be about how you will do this. Identify a location used only for depth, like a conference room or a library. Set a specific time frame for each deep work session. The good thing about using a calendar is that it forces you to set and define a specific start and end time. Don't leave these open-ended. Your ritual also needs rules and processes to keep your efforts structured. Should you go into flight mode for deep work sessions? Are there metrics you can track your productivity? If you have all these pre-decided, you don't need to rely on your willpower. When the time comes, just do what your calendar says you should do. For however long it says you should do it and follow your pre-decided rules. You were in a more sober state when you made the rules and set the schedule. Don't revise any of it when it's time to work. If any change is needed, you can schedule it for the next time you update your calendar. I only just started this book, so I'm sure I'll learn much more. Maybe I'll even change my mind on some things. But for now, I thought I'd share with you what has resonated with me so far. I hope you learnt something. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit justreflections.bhekani.com

In this episode of Decode, Yung and Cute dive into the work of Paul Virilio. As they uncover the current strategies of the state, they examine the contemporary phenomenology of war, from Geopolitics to Cyber-warfare.

durée : 00:51:00 - Les Nuits de France Culture - Dans "Le cinéma des cinéastes" le penseur Paul Virilio explique comment avec la guerre de 14-18 a commencé "le cinéma de la guerre" et comment la guerre a toujours été liée à la représentation. Une émission de Claude-Jean Philippe diffusée pour la première fois le 1er avril 1984. - invités : Paul Virilio Philosophe et urbaniste (1932-2018).; Caroline Champetier cinéaste, directrice de la photographie, cinematographer; Pierre Donnadieu

Conversations about technology tend to be dominated by an optimistic faith in technological progress. There is endless encouragement to think about all of the exciting benefits of new technology, but significantly less attention paid to the ways things might go spectacularly wrong. That's where Paul Virilio comes in.  Read more essays on living with technology at https://reallifemag.com and follow us on Twitter @_reallifemag.

With the Russian invasion of Ukraine dominating the headlines and the specter of nuclear conflict darkening our imagination, we're glad to bring you a conversation with Dr. Jonathan Askonas, associate professor of politics at the Catholic University of America and an expert in Russian-American military affairs. The conversation covers a lot of ground, beginning with a discussion of the origins of the present crisis and going on to consider the religious dimensions of the Russian nuclear service and the role the internet plays in modern warfare. During the discussion of nuclear warfare, Dr. Askonas referred to Russian Nuclear Orthodoxy: Religion, Politics, and Strategy by Prof. Dmitry Adamsky. You can read a book review round table moderated by Dr. Askonas here. The day after I interviewed Dr. Askonas, Prof. Adamsky published a commentary on the present situation at Foreign Affairs: “Russia's Menacing Mix of Religion and Nuclear Weapons.” During the final minutes of the conversation, we also discuss the work of the late French theorist, Paul Virilio, specifically The Administration of Fear. We hope you find this conversation helpful and illuminating. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit christianstudycenter.substack.com

War propaganda in America is in full swing....yet America is not engaged in a war. Is this the run up to our next conflict, or is this pure propaganda and the disappearance of war? Because of our ever accelerating technology, the nature of warfare has changed over the last 50 years, and conflict as we know it is morphing into something totally different. By examining some of the ideas and observations of Paul Virilio, Jean Baudriallard, and Deleuze and Gattari, we may  better understand the nature of "war" in the digital age, in which the spectacle becomes more real than the event: war disappears and propaganda replaces it. Soon we shall find out if America is using this media blitz as a pretense to enter the next global conflict, or if the future of American warfare will play out exclusively in the media. 

War propaganda in America is in full swing....yet America is not engaged in a war. Is this the run up to our next conflict, or is this pure propaganda and the disappearance of war? Because of our ever accelerating technology, the nature of warfare has changed over the last 50 years, and conflict as we know it is morphing into something totally different. By examining some of the ideas and observations of Paul Virilio, Jean Baudriallard, and Deleuze and Gattari, we may  better understand the nature of "war" in the digital age, in which the spectacle becomes more real than the event: war disappears and propaganda replaces it. Soon we shall find out if America is using this media blitz as a pretense to enter the next global conflict, or if the future of American warfare will play out exclusively in the media. 

War propaganda in America is in full swing....yet America is not engaged in a war. Is this the run up to our next conflict, or is this pure propaganda and the disappearance of war? Because of our ever accelerating technology, the nature of warfare has changed over the last 50 years, and conflict as we know it is morphing into something totally different. By examining some of the ideas and observations of Paul Virilio, Jean Baudriallard, and Deleuze and Gattari, we may  better understand the nature of "war" in the digital age, in which the spectacle becomes more real than the event: war disappears and propaganda replaces it. Soon we shall find out if America is using this media blitz as a pretense to enter the next global conflict, or if the future of American warfare will play out exclusively in the media. 

No podcast desta semana, Rodrigo Ghedin e Jacqueline Lafloufa falam da experiência de estar e usar as redes sociais Instagram e Facebook. Ghedin passou os últimos três longe desses ambientes e agora voltou. Na conversa, as impressões dele são contrapostas às da Jacque, que nunca saiu das redes sociais. Indicações culturais Jacque: O filme Encanto [Disney+], de Jared Bush e Byron Howard. Ghedin: O livro Foi apenas um sonho, de Richard Yates. Recados Quer mandar seu alô para nós? Escreva para podcast@manualdousuario.net. Gosta do podcast? Toque aqui e torne-se um(a) apoiador(a). A partir do plano II (R$ 16/mês), você ganha o direito de acompanhar as gravações do podcast ao vivo, incluindo um animado bate-papo pós-gravação, além de outros mimos. O Guia Prático é editado pelo estúdio Tumpats. Links citados na conversa A vida sem Instagram. O WhatsApp como um bar. Inventando o naufrágio: A abordagem pessimista da tecnologia na obra de Paul Virilio.

Dan Brown is one of the best selling authors of all time; just fifteen years ago, "The Da Vinci Code" was a ubiquitous document of global popular culture. Yet Brown, now immensely wealthy from his novelistic success, is oddly neglected today. Pseud Dionysius MPH returns to the show to investigate the unlikely rise of Brown, his protagonist, Harvard Professor Robert Langdon, and the fictional discipline of "symbology" out of the demise of the cold war techno-thriller and the new threats of the information age. We explore Brown's two lesser known pre-Langdon novels, Digital Fortress and Deception Point, which despite being "bad" by most standards, are surprisingly prescient works that anticipate everything from Wikileaks to privatized space travel. We consider Brown's personal origins as a failson of the New England WASP elite who ultimately cashed in on his insider status as a popularizing mythologist of American power. His two early novels, we argue, clue us into the concerns underlying all of his fiction: the transformation of the "Cathedral" institutions of elite education and the Deep State in response to the post-Cold War dispensation of globalized and digitalized capitalism and feminized labor and the emergent risks of information warfare, extremism, and terrorism. This is the first in a multi-part series that will examine the arc of Dan Brown's career and its implications.

On this episode, Jake and Gino interview Nir Eyal, the bestselling author of "Hooked: How to Build Habit-Forming Products" and "Indistractable: How to Control Your Attention and Choose Your Life." He has taught at the Stanford Graduate School of Business and Hasso Plattner Institute of Design. His writing on technology, psychology, and business appears in the Harvard Business Review, The Atlantic, TechCrunch, and Psychology Today. Key Insights: 00:00 Introduction 00:44 Hooked: How to Build Habit-Forming Products 02:52 Breaking the bad habits 06:00 The most common Energy Blocks and how to heal them 08:30 How to focus more effectively and rule out distractions 14:25 'When you invent the ship, you invent the shipwreck' - Paul Virilio 17:40 How to develop good habits 23:55 The best product wins? 26:05 4 ways to break customer habits 35:37 Best success habits 36:08 Tips to scale up a business 37:30 Book recommendations: Factfulness: Ten Reasons We'Re Wrong About The World 42:10 Wrap-up Visit Nir's website: https://www.nirandfar.com/ About Jake & Gino Jake & Gino are multifamily investors, operators, and mentors who have created a vertically integrated real estate company that controls over $100,000,000 in assets under management. They have created the Jake & Gino community to teach others their three-step framework: Buy Right, Finance Right and Manage Right®, and to become multifamily entrepreneurs. Subscribe to this channel: https://ytube.io/3McA Sign up for free training: https://jakeandgino.mykajabi.com/freetraining Apply for Mentorship: https://jakeandgino.com/apply/ #realestate #multifamilyrealestate #multifamilyinvesting #investing #apartmentinvesting Jake & Gino Facebook: https://www.facebook.com/jakeandgino/ Jake & Gino Twitter: https://twitter.com/JakeandGino Jake & Gino Linkedin: https://www.linkedin.com/company/jake-and-gino-llc/ Jake & Gino Instagram: https://www.instagram.com/jakeandgino/ #realestate #multifamilyrealestate #multifamilyinvesting #investing  

Coğrafya kaderdir” derken sadece bir tarihçi olarak değil, bir kültür ve siyaset felsefecisi olarak da konuşuyordu İbn Haldun. Coğrafya kaderdir, sözü geçerliliğini yitirmedi ama kısmen doğru artık. Çünkü “coğrafya'nın sonu”nu yaşıyoruz çağımızda -Paul Virilio'nun yerinde ifadesiyle. Sınırlar ortadan kalktı. Ekonomik sınırlar, kültürel sınırlar ve entelektüel sınırlar buharlaştı, siyasî sınırlarsa aşınmaya başladı. ZİHNÎ İŞGAL VE ÖZGÜRLÜK KÖLELİĞİ Coğrafya, dünyaya açılma çabasının önünde aşılması gereken bir “engel”di. Sınırların ortadan kalkması bu engelin ortadan kalmasına imkân tanıdı ama bu kez farklı ontolojik sorunların patlak vermesine yol açtı. Sınırların aşılmasıyla ölçek büyüdü fakat ufuk daraldı: Demek ki, asıl sınırlar fizikî sınırlar değil, zihnî sınırlardı. İnsan bunu anlayamadı bile henüz. Kontrol ve kolonizasyon artık doğrudan fiîlî işgal yoluyla değil, iletişim teknolojisindeki başdöndirücü gelişmeler nedeniyle dolaylı, zihnî işgal yoluyla gerçekleştirilecekti. Modern teknoloji fizikî sınırların aşılmasını kolaylaştırıyor ama zihnî sınırları alabildiğine daraltıyor ve insanı “özgürlük kölesi” yapıyor. “Özgürlük köleliği” ne demek? İnsanın hızın, hazzın, ayartının kölesi olmayı özgürleşme zannetmesi. Oysa hızın, hazzın ve ayartının kölesi olmak, insanın özgür iradesini, düşünme ve hatta duyma meleklerini kaybetmesi demek. Nedir bu? Modernitenin haklar rejimi demokrasinin bitişi, postmodernitenin hazlar rejimi dromokrasi'nin zaferini ilan edişi. Coğrafî sınırların ortadan kalkması, fiîlî işgale dayanan klasik sömürgecilik biçiminin de sonunu getirdi. Artık zihinler işgal ediliyor, dünya halkları zihnen sömürgeleştiriliyor. Ölçek büyümesiyle birlikte ufuk genişlemedi; insan içine kapandığı, egosuna, hazlarına köle olduğu için alabildiğine daraldı insanın ufku da, dünyası da. Sonuç: İnsansız dünya ve dünyasız insan.

En el episodio de esta semana hacemos algunas reflexiones sobre cómo la velocidad y la tecnología interactúan y reconfiguran la forma en la que percibimos el tiempo y el espacio. Esto a raíz de algunas reflexiones del texto “Open Sky” de Paul Virilio.

We discuss Paul Virilio's Strategy of Deception, a book ostensibly about the Kosovo War. But maybe about a whole lot more... maybe, we're not entirely sure...Support us on Patreon: https://www.patreon.com/radicalthoughts Next Book: Fragments by Jean Baudrillard

durée : 00:28:57 - Avoir raison avec... - par : Géraldine Mosna-Savoye - Ce qui caractérisait Paul Virilio c'était son attention au monde : il fut le grand observateur de la désynchronisation de nos sociétés, et d'un sentiment de disparition, induits par la vitesse. Il ne faut pourtant pas considérer Virilio comme un pessimiste... mais plutôt comme un lanceur d'alerte ? - invités : Jean-Louis Violeau sociologue; Stéphane Paoli journaliste et essayiste

durée : 00:29:12 - Avoir raison avec... - par : Géraldine Mosna-Savoye - Si pour Paul Virilio, la vitesse induite pour les technologies ne nous a pas fait gagner du temps mais nous a fait perdre le monde, que peut l'architecture pour réparer, rétablir les liens ? - invités : Thierry Paquot Philosophe, professeur émérite à l'Institut d'urbanisme de Paris

durée : 00:29:20 - Avoir raison avec... - par : Géraldine Mosna-Savoye - Paul Virilio avait la sensation que nous vivions un accident global... Pourquoi ? Quelle place prend cette idée dans sa pensée philosophique ? Et dans son travail architectural ? L'accident, et sa finitude, peut-il être une ressource pour penser le monde et l'habiter ? - invités : Cynthia Fleury Philosophe et psychanalyste, professeure au Conservatoire National des Arts et Métiers, professeure associée à l'Ecole des Mines de Paris et directrice de la chaire de philosophie à l'hôpital Ste-Anne; Jean Richer architecte

durée : 00:29:19 - Avoir raison avec... - par : Géraldine Mosna-Savoye - Paul Virilio est un ennemi de la vitesse, mais il en est aussi le meilleur théoricien : qu'est-ce qui est novateur dans sa réflexion ? Le concept de Virilio autour de la vitesse est-il une révolution du temps en philosophie ? Qu'est-ce que la "dromologie" et comment prend-elle le pouvoir ? - invités : Jérôme Lèbre Philosophe

durée : 00:29:49 - Avoir raison avec... - par : Géraldine Mosna-Savoye - Comment présenter au mieux Paul Virilio, philosophe disparu en 2018 qui a transfiguré sa vision phénoménologique en devenant architecte ? Qu'est-ce que l'architecture oblique qu'il a fondée avec Claude Parent ? En quoi sa pensée de notre rapport à l'espace traverse-t-elle toutes nos discussions ? - invités : Frédéric Migayrou Conservateur du patrimoine, conservateur en chef des collections architecture et design du Musée national d'art moderne/Centre de création industrielle

This week, I cover Paul Virilio's "The Last Vehicle." If you want to support me, you can do that with these links: Patreon: https://www.patreon.com/theoryandphilosophy paypal.me/theoryphilosophy Twitter: @DavidGuignion IG: @theory_and_philosophy

Comentário sobre a Bomba Informática.

In this episode, we discuss the controversial Giorgio Agamben's early work Infancy and History: The Destruction of Experience and the intersection of language, praxis, history, and experience.Support us on Patreon for bonus episodesOur next read will be Paul Virilio's Strategy of Deception

Introdução ao pensamento de Paul Virilio.

Ngaji Filsafat : Paul Virilio - Logic & Speed Edisi : Filsafat Teknologi Rabu, 10 Maret 2021 Ngaji FIlsafat bersama Dr. Fahruddin Faiz, M. Ag. Ngaji Filsafat berlangsung rutin setiap hari Rabu pukul 20.00 WIB Bertempat di Masjid Jendral Sudirman Kolombo, Jln. Rajawali No. 10 Kompleks Kolombo, Demangan Baru, Caturtunggal, Depok, Sleman, Yogyakarta 55281 --- Send in a voice message: https://anchor.fm/masjid-jendral-sudirman/message

I vår sommarserie "Nio tänkare att ha koll på" är det dags för den moderna tänkaren Paul Virilio som utformade teorier om hur teknologins fysiska hastighet påverkar hela samhället. Varje ny uppfinning bär på en ny olycka. Tåget medförde urspårningen och flygplanet flygkraschen. Med flygplanet försvann dessutom Atlanten, åtminstone ur våra medvetanden. För vem har tid att ta båten till Amerika, i vårt tidseffektiviserade tidevarv? Den nya informationsteknikens realtid suddar på sätt och vis helt ut både tid och rum. Mer information än vad du någonsin orkar ta till dig ligger bara ett musklick bort. Filosofiska rummet tar sig an den franske stadsplaneraren och hastighetstänkaren Paul Virilio. Gäster är den norske antropologen Thomas Hylland Eriksen, historikern Lars Ilshammar och konstprofessorn Gertrud Sandqvist. Programledare Lars Mogensen, producent Thomas Lunderquist. Programmet sändes första gången 20 februari 2005 Boktips: Paul Virilio: Försvinnandets estetik, Korpen 1996; Ground Zero, Verso 2002; Speed and Politics. An Essay on Dromology, Autonomedia 1986. Steve Redhead: Paul Virilio - Theorist for an Accelerated Culture, Edinburgh University Press 2004 Thomas Hylland Eriksen: Ögonblickets tyranni - Snabb och långsam tid i informationssamhället, Nya Doxa 2001

durée : 03:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Françoise Estèbe - Avec Serge Rezvani (auteur-compositeur-interprète, peintre, graveur et écrivain) et son épouse Danièle Rezvani, Maria Casarès (comédienne), Maurice Bénichou (comédien), Denis Roche (écrivain, poète, photographe et traducteur), Gérard Fromanger (peintre) et Paul Virilio (urbaniste et essayiste) - Réalisation Michel Fleischmann - réalisation : Virginie Mourthé

"La cuisine, le salon, la salle de classe : tous ces espaces peuvent être assimilés à des incubateurs, des accélérateurs aidant l'espèce humaine à s'arracher à sa condition animale. Et c'est essentiellement comme des appareillages imaginés pour permettre aux hommes et aux femmes de s'élever que nous aborderons les lieux de prière et de recueillement. Nous passerons des colonnes sur lesquelles se hissaient les anachorètes – à l'instar de Saint Siméon le Stylite – aux compositions vertigineuses de Guarino Guarini pour la Chapelle du Saint-Suaire à Turin et des frères Asam pour l'église Saint-Jean-Népomucène à Munich. Des dispositifs repris et réactualisés par Paul Virilio et Claude Parent qui font pencher les sols de Sainte Bernadette de Nevers pour accentuer le mouvement des fidèles vers l'autel, ou par Peter Zumthor qui redresse les corps des pèlerins sous la lumière zénithale trouant son bloc de béton votif posé à la lisière des champs et de la forêt. Une aspiration à l'élévation que l'on retrouve encore dans certains espaces laïques, notamment le grand vide sombre et silencieux élevé par Louis Kahn au coeur de la bibliothèque d'Exeter ou la plage claire qui s'étend sous les deux ouvertures ovales de la voûte conçu par Ryūe Nishizawa sur l'île de Teshima pour en conclure le parcours initiatique." Richard Scoffier, mars 2020.

Dies ist die dritte Episode einer Reihe über postmoderne Medientheorien. In dieser behandeln wir Paul Virilio. Dabei sprechen wir über die Orientierung des Körpers im Raum, das Verhältnis von Gesellschaft und Geschwindigkeit unter Anbetracht der Medien, Quarantänen und Tempo-Limits. Hier geht es zur Playlist: https://www.youtube.com/playlist?list=PLqwIolGON9cATsZAUbAVDPfKxgQXlgJrf Andere Episoden: Ayn Rand: https://www.youtube.com/watch?v=pqyoXDQgCp0&ab_channel=CorvusCorax Carl Schmitt: https://www.youtube.com/watch?v=v1mTQ1oe6DM&t=1s&ab_channel=CorvusCorax Wissenschaftstheorie: https://www.youtube.com/watch?v=VPsPc7_jV0Y&ab_channel=CorvusCorax Friedrich Hayek: https://www.youtube.com/watch?v=TM1FrtqlFzw&t=1484s&ab_channel=CorvusCorax Anarchismus & Staat: https://www.youtube.com/watch?v=0MefJe7DsuM&t=1s&ab_channel=CorvusCorax Transhumanismus: https://www.youtube.com/watch?v=bkxiEXZKTxI&ab_channel=CorvusCorax Zweite Natur: https://www.youtube.com/watch?v=i20wcAHkm-Y&ab_channel=CorvusCorax Strukturalismus: https://www.youtube.com/watch?v=Ihn9iiDDstc&ab_channel=CorvusCorax Der junge Baudrillard: https://www.youtube.com/watch?v=u47XoM--47M&ab_channel=CorvusCorax TERF-Manifest der Terre des Femmes: https://www.youtube.com/watch?v=I2uS-hDAAW4&t=442s&ab_channel=CorvusCorax Hier findet ihr mich: YouTube - Podcast: https://www.youtube.com/channel/UC3xHSnWZ-Y1kahvfe5MPBIw?view_as=subscriber YouTube - Extra Content: https://www.youtube.com/channel/UCNf8kl4P2Cr--zQ4lbgyuCQ Twitter: https://twitter.com/CorvusCoraxPC Anchor.fm: https://anchor.fm/corvus-corax Spotify: https://open.spotify.com/show/6krh8974Od4L0UiSg5irHo Apple Podcast: https://podcasts.apple.com/de/podcast/corvus-corax-podcast/id1474142675

Le bunker apparaît comme un dispositif de protection maximale dont les murs ressemblent au toit et le toit aux fondations. Comme l'affirme Paul Virilio, le bunker, en protégeant les hommes quand le sol même s'effondre, témoigne d'un retour paroxystique aux valeurs fondamentales de l'architecture. Sans jamais chercher à se donner une quelconque visibilité, il sait s'affirmer comme une pure matrice permettant aux corps qu'il protège de parvenir à leur plein accomplissement, à leur pleine maturité. Le Bunker est le troisième acte de l'Université Populaire 2013 du Pavillon de l'Arsenal qui propose de s'interroger sur la notion même d'architecture à travers cette question essentielle : «Qu'est-ce que l'architecture ? ». La réponse se décline en 4 cours animés par Richard Scoffier, architecte, philosophe, professeur des Écoles Nationales Supérieures d'Architecture.

Claude Parent a réalisé en Paris la maison de l'Iran. Il a fondé avec Paul Virilio le groupe Architecture Principe (1963-68). Joseph Belmont a lui longuement collaboré avec Jean Prouvé et compte également parmi les acteurs de l'architecture des 30 Glorieuses.   Claude Parent et Joseph Belmont sont intervenus en 1991 dans le cadre du cycle « Architectes repères et repères d'architectures » à travers lequel le Pavillon de l'Arsenal donnait la parole à ceux qui ont fabriqué la ville entre 1950 et 1975, une période de la construction souvent oubliée et pourtant génératrice de références architecturales essentielles.

In this episode, Andrew and Patrick talk about French cultural theorist, architect, and philosopher Paul Virilio and his book The Information Bomb. We discuss speed, the 90s, information, and more.Our next episode will be on Slavoj Zizek's The Metastases of Enjoyment. Check it out if you want to read ahead.Support us on Patreon and get an extra bonus each month for just $3/month.

In this bonus episode, Patrick sits down with the author Peter Salmon to discuss the life of Jacques Derrida and contextualize his philosophical project (if there is such a thing). We go over Derrida's upbringing, his academic life, and his conception of friendship in and outside of his theoretical work. Salmon brings his viewpoint after researching and writing a new biography of Derrida, forthcoming from Verso Books this October.This bonus episode is being made available in full on our public feed. If you want more bonus content every month, you can subscribe to our Patreon for $3/month for extra interviews.An Event, Perhaps by Peter Salmon: https://www.versobooks.com/books/3678-an-event-perhapsRick Roderick on Derrida: https://www.youtube.com/watch?v=LvAwoUvXNzU&t=151sOur next book is The Information Bomb by Paul Virilio: https://www.versobooks.com/books/42-the-information-bomb

En 1996, éclate l’affaire Sokal: Alan Sokal, un mathématicien et physicien américain publie un texte intitulé : Transgressing the Boundaries : Towards a Transformative Hermeneutics of Quantum Gravity(1), dans la revue américaine Social Text(2). Hélas! Sokal avoue que ce qui est écrit est pur non-sens: il cherchait en fait à montrer l’irrationalité qui, selon lui, vit au coeur de certains cercles académiques américains. En 1997, Sokal et son collègue physicien et philosophe des sciences, Jean Bricmont, publient ensemble le livre Les Impostures Intellectuelles3,4. Dans ce dernier, les auteurs critiquent vivement Jacques Lacan, Julia Kristeva, Luce Irigaray, Bruno Latour, Jean Baudrillard, Gilles Deleuze, Félix Guattari et Paul Virilio, penseurs plus ou moins éminents en philosophie, littérature et sciences humaines, que l’on pourrait qualifiés de “postmodernes”.Nous, Eliot et Justin, adresserons certaines de ces critiques et discuterons ensemble de science et de rationalité. Nous ne pouvions nous empêcher de rire parfois! ENVOYEZ-NOUS VOS QUESTIONS, COMMENTAIRES, SUGGESTIONSYoutube: Dialogues Dilettantes (https://www.youtube.com/channel/UC7IL0WJ1TAkUsNTfl3YUxQQ?view_as=subscriber)ERRATUMRien iciPOUR POUSSER VOS LECTURESKuhn, The Structure of Scientific Revolutions, 1962. Le texte de Kuhn est un incontournable en philo des sciences du XXè siècle. Très bon livre qui remet en question plusieurs acquis de la philo des sciences mais qui aussi, malheureusement selon Eliot et Justin, a ouvert la porte à plusieurs courants relativistes en science.Popper, The Logic of Scientific Discovery, 1934 (en allemand; Popper le réécrit en anglais en 1959). Texte classique qui renverse le positivisme logique et qui est abordé brièvement par Sokal et Bricmont. Popper est un amoureux de la rationalité et est très critique envers toute forme de relativisme. Feyerabend, Against Method, 1975. Anarchisme épistémologique. Feyerabend tente de montrer qu’il n’y a aucune méthode infaillible en science et, qu’ainsi, toutes les méthodes se valent (“Anything goes”). Il est critiqué par Sokal et Bricmont.Duhem, La théorie physique: son objet et sa structure, 1906. Première présentation d’une thèse dite de holisme épistémologique. Quine reprend plus tard cette pensée (quoique différement) et aujourd’hui nous nommons cette thèse celle de Duhem-Quine. Sokal et Bricmont l’aborde aussi.Hume, An Enquiry Into Human Understanding, 1748. Un livre classique moderne de scepticisme métaphysique. Entre autres, Hume montre que la méthode dite d’induction en science ainsi que le principe de causalité sont des postulats métaphysiques qui demeureront à jamais non-prouvables. C’est aussi un texte fondateur de l’empirisme moderne. Son influence est énorme même aujourd’hui. NOTES1Transgressing the Boundaries : Towards a Transformative Hermeneutics of Quantum Gravity https://physics.nyu.edu/faculty/sokal/transgress_v2/transgress_v2_singlefile.html 2https://fr.wikipedia.org/wiki/Social_Text3Alan Sokal et Jean Bricmont, Les Impostures Intellectuelles, Odile Jacob, 1997, 276p.4https://fr.wikipedia.org/wiki/Impostures_intellectuelles

durée : 03:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Françoise Estèbe - Avec Serge Rezvani (auteur-compositeur-interprète, peintre, graveur et écrivain) et son épouse Danièle Rezvani, Maria Casarès (comédienne), Maurice Bénichou (comédien), Denis Roche (écrivain, poète, photographe et traducteur), Gérard Fromanger (peintre) et Paul Virilio (urbaniste et essayiste) - Réalisation Michel Fleischmann - réalisation : Virginie Mourthé

בסדרות הפופולריות משנות ה-90, "חברים" ו"סיינפיילד" (שניתן לראות כיום בנטפליקס), החברים מדברים בטלפון הקווי בבית כל הזמן, בנינוחות ובטבעיות. זו היתה הדרך לתקשר. מאז שיחת הטלפון ההיסטורית שביצע ממציא הטלפון אלכסנדר גרהם בל לעוזרו ווטסון, חלפו כמעט 150 שנה (1876). במרוצת השנים הטלפון הפך לאמצעי פופולרי שמצוי בכל בית ומשרד כשהוא עובר אבולוציות משל עצמו, ממוצר המצוי בבתי הדואר (החליף את הטלגרף) למכשיר ששימש משרדים ועסקים ובהמשך למכשיר שנפוץ בכל בית. ממכשיר הדורש תיווך מוקדניות לביצוע שיחה (מקצוע שנכחד) לטלפון בחיוג אוטומטי, המצוי בכל בית. ממכשיר מבוסס חוגה, לחיוג מבוסס מקשים. מחיוג מתקפים (פולסים) לחיוג צלילים. מטלפון נייח, לטלפון אלחוטי. ממכשיר טלפון ציבורי שהיה אמצעי הקשר היחידי שלנו בדרכים, לטלפון סלולרי המצוי כיום בכל כיס. כשמייסד אפל, סטיב ג'ובס, עלה לבמה ב- 2007 הוא הכריז; היום אנחנו ממציאים מחדש את הטלפון ואנו קוראים לו iPhone. האייפון ומכשירים נוספים שבאו בעקבותיו יצרו אקו סיסטם חדש ותעשיה שמגלגלת מיליארדי דולרים. אינספור מקצועות חדשים נוספו לשוק העבודה והשימושים והיישומים שניתן לעשות עם מכשיר קטן אחד שמצוי בכיס שלנו, הם בלתי נתפשים. אבל… ויש כאן אבל. פילוסוף התרבות הצרפתי פאול ויריליו (Paul Virilio) טען כי המצאת הספינה יצרה את טביעת הספינה והמצאת החשמל את ההתחשמלות. כל המצאה או חידוש יצרו גם את הקטסטרופות המתלוות אליהן. לצד אינספור דברים טובים ומועילים שהביא הסמארטפון, המצאתו יצרה גם כמה קטסטרופות ונראה כי מדובר במגפה של ממש שאנו עדיין לא מסוגלים לעכל את ממדיה והשלכותיה על האנושות. לקריאת המאמר

“The invention of the ship was also the invention of the shipwreck,” said Paul Virilio, yoking together the opportunities and consequences of technological progress. We joined Rory Hyde, co-curator of The Future Starts Here exhibition at the V&A in London, to discover a landscape of possibilities for the future of design. Rory discussed the background to the major 2018 exhibition, which brought together 100 objects ranging from smart appliances and satellites to artificial intelligence and internet culture. This event was made possible by the Hugh D T Williamson Foundation through funding for MPavilion’s series of events looking at design & science.

Paul Virilio, a Christian anarchist, architect, urbanist, philosopher, and peace activist, died this year on September 10th. We're both really influenced by Virilio, and we've talked about him in the past on the show, so we thought we'd do a retrospective on some of his major themes to say goodbye to a radical Christian comrade. Intro music by Amaryah Armstrong Outro music by theillalogicalspoon★ Support this podcast on Patreon ★

Franski heimspekingurinn Paul Virilio er látinn, 86 ára að aldri. Virilio var áhrifamikill hugsuður þegar kemur að menningarlegri greiningu á háhraða samfélagi samtímans, tækni, nýmiðlum, arkitektúr og stríði. Björn Þór Vilhjálmsson, lektor í almennri bókmenntafræði og kvikmyndafræði við Háskóla Íslands, tekur sér far með Lestinni í dag, en hann þekkir vel til verka Virilio. Einnig verður rætt við Þórdísi Bachmann sem þýtt hefur eitt af stórvirkjum heimsbókmenntanna, skáldsöguna Tale of two Cities eða Sögu tveggja borga eftir enska rithöfundinn Charles Dickens. Tónleikaröðin Ham on Everything er eitt helsta batteríið í rappsenu Los Angeles en margar stórstjörnur rappsins hafa fetað sín fyrstu fótspor á sviði þar. Kvöldin eru vanalega haldin í vöruhúsum eða gömlum samkomuhúsum með stuttum fyrirvara. Rætt verður við Adam Weiss, einn stofnanda Ham on Everything-kvöldanna, um rappsenuna í Los Angeles. Og fjallað verður um sjónvarp í Lestinni á mánudegi: Roy-fjölskyldan í sjónvarpsþáttunum Succession þarf sannarlega á sálfræðingi að halda enda hefur græðgi og valdafíkn fyrir löngu eitrað fjölskylduböndin. Áslaug Torfadóttir heimsækir fjölskylduna í pistli sínum í dag.

This episode offers reviews of Penelope Skinner's play "Angry Alan", Knaive Theatre's "War With Newts" and Darkfield's "Flight", all showing at the Edinburgh fringe 2018. There is also a discussion of Paul Virilio's theories on speed, and the ways in which the problems of acceleration manifest in the three shows analysed here.

“The invention of the ship was also the invention of the shipwreck” - (Paul Virilio). The `The Future Starts Here` exhibition opens with this quote. Co-curators Mariana Pestana and Rory Hyde tell us why, and what the show is about. They also give us insights into their everyday life as curators. The exhibition is running at the V&A in London until 4th November and has been supported by the Volkswagen Group. A production by the Volkswagen Group.

Episode 15 of #AtlanticSC finds Jason and Lee at their most pretentious, as they continue their Paul Thomas Anderson retrospective with 2007's There Will Be Blood. The film stars oil derricks, a church, and a bastard from a basket. Episode 15 Breakdown Introduction Feature Film Discussion: There Will Be Blood 6:19 Idealism vs. Pragmatism 13:38 Transitions and the Opening Shot 23:17 References to Kubrick and Paul Virilio 47:38 Anderson and Family 1:07:34 Plainview and the Perversion of the Natural Order 1:12:39 How would you rate Anderson's There Will Be Blood? Did you like the film? Sound off in the comment section below! Be sure to like, share, follow #AtlanticSC on SoundCloud, and leave comments on the track or in the comment section below or on iTunes. We're looking forward to discussing with you!

Paul Virilio, global security, and the media as a military force multiplier. --> If you dig these interviews from the archives, please subscribe and review in iTunes, or wherever you get your podcasts. My other show lives at brandnewways.com Find me on Twitter: @jenleonard_  

Why are methods so boring in the contemporary university?  How can the theories of method be enlivened and enlivening in the humanities and social sciences?  Steve and Tara translate and transform Paul Virilio's Bunker Archaeology to develop a new way of thinking about space, identity, ethnography and surveillance.

What do technology, speed, war, bunkers and architecture have in common?  All are interests of Paul Virilio. Tara talks with Steve Redhead about Virilio, understanding his specific place in these theoretical times. Two references were logged in this podcast.  Steve's article on Virilio and Parent (http://pi.library.yorku.ca/ojs/index.php/topia/article/view/460/12278) and the film Beyond the Bunker (https://www.youtube.com/watch?v=ogwHNYSSe9Q&list=UUhI8hFnlCcKDk-U3au4uCvA).  

Filosofiska rummet samlar fyra tänkare och ber dem dela med sig av sina bästa boktips för sommaren. Hör barnläkaren Lars H Gustafsson, filosofen Cathrine Felix, bibliotekarien Karin Malmström och sociologen Bo Isenberg. Äntligen sommarlov för landets studenter och förhoppningsvis välbehövlig semester för landets löneslavar, kanske till och med lite lugn för dagens överaktiva pensionärer? Då samlar Filosofiska rummet fyra tänkare och ber dem dela med sig av sina bästa boktips för hängmattan, stranden, torget eller var man nu önskar tillbringa sommaren. Hör barnläkaren Lars H Gustafsson, filosofen Cathrine Felix, bibliotekarien Karin Malmström och sociologen Bo Isenberg tala om bl a följande böcker: Better by mistake - The unexpected benefits of being wrong" av Alina Tugend. Ethics in the Light of Childhood av John Wall. Ull, av Hugh Howey. Acceleration, modernitet och identitet av Hartmut Rosa. Trötthetssamhället avByung-Chul Han. Programledare: Lars Mogensen, producent: Thomas Lunderquist Redaktionens lyssningtips Sommaren är inte bara lästid. Den kan också vara lyssningstid. Filosofiska rummets poddarkiv är en skattkammare. ”Det är lite svindlande att titta i poddarkivet där det finns hundratals spännande, roliga, utmanande och ibland smått underliga program att välja bland”, säger Lars Mogensen. ”Om jag bara sticker ner näven i lådan hittar jag tre samtal jag gärna vill tipsa om som sommarlyssning.” Virilio och hastigheten. Ett samtal om hastighetens betydelse för människans utveckling. Varje ny brödrost är snabbare än den förra. Varje ny dator gör den gamla till en löjlig tröska. Enligt den franske filosofen Paul Virilio är hastigheten central om man vill förstå sig på våra samhällen. Men varje ny uppfinning bär också på en ny olycka. Gäster är den norske antropologen Thomas Hylland Eriksen, historikern Lars Ilshammar och konstprofessorn Gertrud Sandqvist. http://sverigesradio.se/sida/avsnitt/70993?programid=793 Anscombe, Foot och dygdetiken. Ett samtal utifrån Elisabeth Anscombe och Philippa Foot – två av 1900-talets viktigaste moralfilosofer. Är det rimligt att handla så att en person dör om jag samtidigt räddar livet på fem? Och hur viktiga är mina avsikter i en viss situation för hur min handling ska bedömas? Anscombe stod Wittgenstein nära och många har nog hört Foots berömda tankeexperiment om moraliska handlingsalternativ med en skenande spårvagn - the Trolley Problem. Vi lät deltagarna – filosoferna Cathrine Felix, Per Bauhn och Jeanette Emt – grubbla kring tankeexperimentet. http://sverigesradio.se/sida/avsnitt/61274?programid=793 Alla vill leva länge men ingen vill bli gammal, säger man. Tyvärr är dock sambandet mellan livslängd och ålder direkt och ofrånkomligt. Så vad gör vi när kroppen förlorar sitt underhållningsvärde, för att citera Kristina Lugn. Går de existentiella frågorna som är förknippade med processen att besvara nöjaktigt? Vad händer med själen när kroppen förfaller, och är vi över huvud taget samma person i våra olika åldrar? Ett samtal om åldrande från 2005 med författaren Jacques Werup som skulle fylla 60 det här året, terapeuten och författaren Patricia Tudor-Sandahl, pensionären Annmari Asker samt filosofen Tobias Hansson. http://sverigesradio.se/sida/artikel.aspx?programid=793&artikel=793625 Vad är bildning i vår tid? En gång i tiden innebar bildning att man kunde några klassiska språk, hade läst filosofi och var beläst i den klassiska litteraturen. Men vad är bildning idag? Förutom rent intellektuella insikter bör man ha koll på popmusiken, Barcelonas laguppställning och vad som rör sig i populärkulturen. I det här programmet möts skribenten Andres Lokko, författaren Martina Lowden och Göran Greider i ett samtal om vad en bildad människa i vår tid bör ha koll på. Programmet sändes i december 2007 http://sverigesradio.se/sida/avsnitt/92994?programid=793 Vad är politik? Valet 2010 gjorde Filosofiska rummet en ambitiös satsning på en serie om de olika ideologierna. I det avslutande programmet diskuterade vi vad som är politik. Ett program som kan vara värt att lyssna på igen så här i valtider. Medverkande är filosoferna Sven-Olof Wallenstein och Fredrika Spindler och estetikforskaren Cecilia Sjöholm. Programmet sändes i september 2010. http://sverigesradio.se/sida/avsnitt/68052?programid=793 Språkets evolution. Varför pratar vi? Det är en fråga som inte är alldeles lätt att ta reda på. Kring talets ursprung finns en rad teorier som är svåra att verifiera vetenskapligt. Men att vi är sociala varelser som gärna vill ta ett snack med våra medmänniskor är drivkraft som är svår att underskatta. Författaren Lasse Berg,  kognitionsforskaren Peter Gärdenfors och Karin Aronsson som förskar kring barns språkutveckling, diskuterar språkets evolution. Programmet sändes i maj 2010. http://sverigesradio.se/sida/avsnitt/71990?programid=793

It is a cliche that we live in fast times, not careful times.  One of the most relevant theorists of speed is Paul Virilio.  Yet what can first year students gain from reading his work?  Tara Brabazon talks with Steve Redhead about Paul Virilio and what his research and theories can offer to the understanding of accelerated culture.

Architecte urbaniste et philosophe Professeur émérite de l’École Spéciale d’Architecture de Paris

Brigitte Kowanz challenges us to question things, perception processes become cognition processes.

Why is there a confusion between an act of terrorism and an accident? Using the work of Paul Virilio, Steve Redhead explores answer to this question with Tara Brabazon.